Bus travel from Tirana to Istanbul

Bus travel from Tirana to Istanbul – with, hopefully, some practical information (including surviving the first couple of hours or so) and some observations

Leaving Tirana

The buses from Tirana leave from the International Bus Station (N 41.333204, E 19.801029) which is off Rruga Dritan Hoxha, the ‘new’ route to Durres. The bus station is slightly hidden behind the Palace of Sport/basket ball court, This is opposite the bus station that operates buses to the north of Albania. Though not absolutely necessary it would be wise to book in advance.

There’s no opportunity to exchange currency during the journey so, if possible, have a few Euros for food and drink at the Greek stop.

I didn’t know it until I left but there are two bus companies that have buses leaving at the same time – 12.00 every day (apart from Friday). The one I used was Alvavel/Alpar (https://www.alparturizm.com.tr/en/home), from kiosk 3 at the station. The cost of a ticket was €40 one way, €60 return. The other was Expres tur which was a bit more luxurious in that there were three, rather than four seats, abreast. The bus itself looked more modern and not a second hand cast off from some other country as was mine. Also the service was more efficient. At a late night stop, when both my bus and the ‘luxury’ bus were at the same service station, the Express driver spent some time cleaning the windscreen and the front of the bus and the helper cleared rubbish from the inside of the vehicle. On my bus the ‘staff’ were in the restaurant before the passengers.

Expres tur also have a kiosk at the bus station but I haven’t been able to find a web address and hence not certain about their timetable. If the budget stretches to it I would suggest the the Expres service – the seat of a second-hand bus gets hard after a few hours and these newer seats turn into a virtual bed.

I was told the journey would take 20 hours – which with the hour difference between Albania and Turkey is a good timetable. Arriving at 09.00 would be a civilised time in a place that you might never have visited before. The website says arrival time is 07.00 – but that’s not true either.

Both companies had a pickup in Elbasin. After that, at about 14.00, the bus stopped for the driver’s lunch break on the road between Libradzh and Prenjas, for about 30 minutes.

Alvelar/Alpar have a depot in Korçe and took a number of passengers from Tirana to Korçe but few, if any, passengers joined the bus there. There’s a separate service from Korçe to Istanbul – see website.

After Korçe the bus was less than half full. I travelled at the end of September so things were getting quieter in general but at that time it meant that most people, if they wanted, had a double seat – making things slightly more comfortable for an overnight journey. It wouldn’t have been as comfortable if the bus had been full.

From Korçe the bus heads to the town of Billisht and then on to the border with the same name. The bus arrived at the border just before 17.00 and the whole process of passing through both Albanian and Greek passport control/customs took just over 30 minutes.

Leaving Albania and entering Greece

The process is as such:

To leave Albania take all luggage, both from inside and the hold of the bus, into the customs hall. There’s a random, cursory, hand check of luggage. I have a waterproof liner in my rucksack and I think the customs officer was caught slightly off guard in that what he was feeling was the same he would have done (more or less) if he had just felt around the outside of the bag. There was an X-ray machine in the building but it wasn’t used when I passed through. After the customs check the immigration window is a few metres away. I’ve always found Albanian passport control one of the easiest to negotiate. However, you don’t get a stamp in your passport when arriving or leaving by land in Albania (which was a bit disconcerting when I first arrived in Albania by land).

After returning to the bus the process to enter Greece is even easier. You only need to go to passport control and no luggage was checked, either hand or from the hold. Presumably random checks take place from time to time.

After crossing the border there wasn’t a stop until 21.45 which lasted about 30 minutes.

Crossing into Turkey from Greece

The Greek/Turkish border is reached at about 00.30-01.00. You know you are getting there as on the approach you pass a very long queue of parked up lorries.

The helper collected all the passports and presented them to the Greek immigration. That allowed the passengers to spend some free time in the duty free shop.

It’s one of the curious matters about customs that there are supposed to be established rules but they are often just ignored or openly broken. The bus staff bought a huge amount of booze, what exactly I didn’t see, way over what would be considered for personal use. Some of this was then stashed in the cold compartment where free water is normally stored. The stash of booze was then covered by the water bottles and any extra given to willing passengers to ‘call their own’ – in the event that any questions were asked.

Now this ‘smuggling’ was going on openly. I could see what was happening. There was no effort to hide what was going on. The Greek customs must know about this. If not they must be one of the most inept, incompetent or corrupt organisations in existence. But they do nothing to stop this. If you have laws and rules at least abide by them – if not just scrap them. This excess of duty free also accounted for the distribution of duty free bags earlier in the journey for passengers’ rubbish – not too good for the planet either.

Passing through Turkish immigration was equally as quick and easy. My printed visa wasn’t even looked at so I’m not sure what happens there – whether my passport scan brings up an OK I don’t know.

Arrival in Istanbul

The bus arrived at Otogar (the main Istanbul bus station) at around 05.00 – a lot earlier than I expected – and before things started to wake up, including the Metro and the public transport system in general. My bus had made a couple of stops in the old town before heading to the bus station. I noticed a sign post to Taksim Square, near to where I would be staying, but not knowing the area at all it didn’t seem a wise thing to do to get off there.

I was fortunate in that I had a very little Turkish money from a previous visit some years ago. This enabled me to pay for the use of the WC (TL1.50) – to change from shorts to trousers. I was the only one wearing shorts on the bus and started to think I might stand out once on the streets of Istanbul. Doing so in Tirana you are one of the crowd. Doing so in Instanbul marks you out immediately as a tourist.

Next thing to do was to find a cafe to sit down and wait for the city, or at least the bus station, to wake up. Not having a single word of Turkish didn’t help but assumed that life would start again after about 06.00. It was interesting that, with the fame of Turkish coffee, my first cup on this visit was made from Nescafe Instant – and it was as bad as I had remembered.

Otogar might be one of the biggest bus stations in the world but it is certainly the ugliest. Coming into it was like passing through a half constructed concrete car park. Buses everywhere but with a feeling of dirt and decay. I didn’t think it would look any more inviting in the light of day. Having only seen a small part of the city when everything was quiet this goes against the general feeling of the city which appears to becoming an homogenised western city. Such globalisation is taking the character out of so many cities throughout the world. Otogar has been left out of this modernising process.

Over the years in various countries I sat and watched – for what now seems like countless hours – street traders waiting for customers. It was the same in Otogar. The cafe was open, as were a number of other stalls/kiosks in a small ‘shopping centre’ but there were only a handful of customers for almost two hours. Whether it ever gets really hectic I’ll probably never know from personal experience but it must be a mind blowingly boring existence for so many people to just sit and wait.

By 06.30 things were still very quiet and I didn’t know if I had over-extended my welcome at the cafe. However, as I had spent a lot of time in Albanian bars where I had had a few beers whilst others had just had a small coffee but were there as long as myself, I assumed the culture to be the same in Turkey.

It was still dark and I wasn’t sure if the Metro had started up so after I got to this point in my typing I decided to wait and move once the morning had arrived before going exploring – first for a cash machine and then the Metro, assuming I would find both in the same place – that was another assumption that wasn’t correct.

When I did stir it was light – fortunate that I travelled before autumn had really set in and the days got shorter. But life is never easy. Finding the Metro (as in railway system) was made more confusing by the existence of a bus company called ‘Metro’ and they seem to have an office every second space at the front of the bus station. The Metro railway entrance is, in fact, in the middle of the huge square in front of the Otogar, slightly to the right when you have the bus station to your back.

But first, like me, you might need some cash. Once you find the Metro entrance look at the row of shops directly opposite the bus station entrances and there you will see a branch of the Turkiye Is Bankasi which has an ATM to the right of the entrance. Currently (autumn 2019) there are about 7 Turkish Lira (TL) to the £.

(One of the consequences of the light is that your first impressions of the bus station are proved right. In the dark it’s bad, in the light it confirms itself as a right shit-hole.)

As is nearly always the case ATM’s only issue you with large denomination notes but for the Istanbulkart – which you need to travel on the local transport system – you really need a couple of tens – I don’t know how the machine would react if you inserted a larger denomination note.

My solution was to go for a bowl of soup at the cafe close to the entrance gates that allow you into the Metro system. The soup was quite good and definitely filled a hole after spending 16 hours on or about a bus, cost TL10 and it was understood why I needed a couple of ten lira notes in my change.

Obtaining a Instanbulkart

Right in front of the gates to the Metro there are three machines which dispense or top up the Istanbulkart. In theory the system should go to English but I couldn’t get that to work. Fortunately a helpful local took me through the procedure.

First you put your TL10 note in the slot and after the machine has eaten it you press the bottom of the three buttons which will issue you with a card. This costs TL6 so you have TL4 credit but this will only get you on to one train/tram/bus. To top it up for a few journeys, place the card with the picture face up on the grey reader to the right of the screen. This has a lip to prevent it from slipping off the machine. Put another TL10 in the slot and once eaten press the second button (the one in the middle). This will then give you a total credit of TL14, sufficient for four/five journeys.

To enter the Metro system place the card picture side up on the reader to the right of the turnstile. A single journey costs TL2.60 and the balance on the card can be read.

Make sure to keep the card reasonably well topped-up. There’s no transfer system so if you need to change Metro lines, or from Metro to tram or bus, then you need to enter the system anew. However, if you do so within a couple of hours each transfer is slightly less that the one before. The card is also valid on the ferries but the cost depends upon the route taken.

You now have cash and the means to get around the city. And to suffer the caterwauling every day.

Socialist Realist Paintings and Sculptures in the National Art Gallery, Tirana

Skender Kamberi - The Bread Strike 1942 - 1971

Skender Kamberi – The Bread Strike 1942 – 1971

Socialist Realist Paintings and Sculptures in the National Art Gallery, Tirana

This post will consist of images of the paintings (and a few sculptures) from the Socialist period of Albania’s past. The first floor of the National Art Gallery is almost now solely (with one notable exception, which I’ll come to later) devoted to the period before 1990 when things fell apart.

Some of the paintings have been on display for many years and, in a sense, have become the core of the exhibition. There must be many more in storage but as politics gets into everything there may be some which are not even allowed to be on public display for specific reasons. There are a couple that show images of Enver Hoxha but there must be many more – in fact I’ve seen reproductions which are in the national collection but which never see the light of day. I hope, and don’t think, they have been destroyed.

Other political and economic reasons might prevent certain works from being seen. One subject which comes to mind are those paintings which celebrated the developments of the Collective and State Farms. In the selection below the co-operatives are mentioned but only when they are showing people, There are no images of mass industrialisation of the countryside – with tractors and combine harvesters – as those would, perhaps, make the viewer wonder why such images cannot be seen in the countryside of the 21st century as land ownership has gone back to that of the feudal period with virtual strip farming.

The images that are presented are all those that are on display in the National Art Gallery in Tirana at the moment. They are presented here in an effort to encourage anyone who visits Tirana to make an effort to go to the art gallery. It is a unique collection and one that doesn’t get the recognition it deserves. Unfortunately you don’t have to push and shove to get a good view of the works.

As to the structure of the presentation they are presented in the alphabetical order of the artists’ first name – only because that’s how Windows organises files in folders. This is followed by the title of the work in English. Sometimes the title seems inappropriate but that is probably down to a poor translation from the Albanian. I have given the title as printed on the card beside each exhibit. Next comes the year in which the work was painted. Two were not dated and have ‘nd’ in place of a year.

There are advantages of placing works by the same artist together. The individual style becomes more obvious and if the work cover a long period of time it’s possible to see a development of that style.

The dates are also important as with some of the early works it’s not really possible to describe the works as ‘Socialist Realist’ – the artists’ training and development taking place under a completely different social system. Comparing the dates with events that were taking place both nationally and internationally can also help in the understanding of the various elements in many of the pictures.

I would hope (at some time in the not too distant future) to look at some of these works in a more forensic manner. As it is with time constraints I will only make a few comments on some of the works if I think such snippets helpful in understanding the whys and wherefores of the image and also how such images fitted into the society that the Party of Labour and its leader, Enver Hoxha, were hoping to achieve.

Hey, I might get it wrong but if I do I would appreciate being put along the true path of enlightenment.

Abdulla Cangonji - The fishermen - 1965

Abdulla Cangonji – The fishermen – 1965

It might be just chance but although Albania has a long coastline, in relation to the size of the country in general, and that the fishing industry would have been quite important during the period of the construction of Socialism there aren’t many paintings which celebrate that fact.

Abdurrahmin Buza - The refugees - 1957

Abdurrahmin Buza – The refugees – 1957

Buza was one of those painters who established his reputation before Liberation but did develop his work to deal with events and circumstances in the young Albanian Socialist State.

Abdurrahmin Buza - Voluntary work at the 'Stalin' textile factory - 1948

Abdurrahmin Buza – Voluntary work at the ‘Stalin’ textile factory – 1948

The factory, which was established in the town of Kombinat, to the west of Tirana along the ‘old road’ to Durres, is now (and has long been) an abandoned ruin. The statue of Stalin that dominates the scene is the one that is now at the back of the National Art Gallery.

Alush Shima - Portrait of a worker - 1971

Alush Shima – Portrait of a worker – 1971

You’d have to look hard to find a miner in Albania today. Even so there’s an interesting bas relief in the ex-mining village of Krrabe, on the way to Elbasan from Tirana.

Andon Lakuriqi - Testing - 1969

Andon Lakuriqi – Testing – 1969

Heavy industry was crucial for a self-sufficient Socialist society. This created problems as resources were not able to be directed to the production of consumer goods that people craved – especially when these were becoming ever more plentiful in the capitalist countries – whatever the consequences for the general well-being of the population. That is why images of heavy industry were so common in paintings of the period. This matter became even more extreme when first the Soviet Union and then the People’s Republic of China pulled the economic plug due to ideological reasons i.e., the fight against Modern Revisionism.

Arben Basha - I will write - 1971

Arben Basha – I will write – 1971

The title causes confusion – but that might simply be down to a problem with the translation from Albanian to English. In Albania working men and women were encouraged to write about their experiences and thoughts there being many outlets at a local and national level where amateur writers were encouraged to send in their work.

Aristotel Papa - From constructions - 1969

Aristotel Papa – From constructions – 1969

The construction of new houses was crucial in the early years of the republic and these 5/6 storey buildings are common throughout Albania. There not exactly pretty to look at from the outside but the few I’ve had the opportunity to visit were more than comfortable on the inside. What also went hand in hand with the construction of the flats were the communal heating plants, especially important in the mountainous regions and those towns and cities situated over a few hundreds of metres above sea level.

Bajram Mata - Portrait of a volunteer - 1969

Bajram Mata – Portrait of a volunteer – 1969

It will become noticeable the number of women – especially the young – who are depicted as playing a full role in the construction of Socialism. And not just as the manual labour but in positions of responsibility, reflecting how (between 1944 and 1990) Albania was succeeding to turn the world upside-down when it came to women’s liberation. Why women reverted to the ‘traditional’ role – which is the case when you look around 21st century Albania – is a question I’ve not been able to answer.

Bajram Mata - The Co-operative work - 1972

Bajram Mata – The Co-operative work – 1972

Some of the work on the Collective and State Farms would have been done by hand but the areas covered in some of these enterprises would have been impossible to have farmed without serious mechanisation. Albania wasn’t totally self-sufficient in the production of such items as tractors and combine-harvesters but it was aiming to be so.

Bajram Mata - The dance of Dibra - nd

Bajram Mata – The dance of Dibra – nd

Throughout the period of Socialist Construction a great deal of effort was put into maintaining traditional folk culture. What was represented in the paintings was not something of the past but of the present where tradition and the the goals of the future were working in tandem.

Bajram Mata - The volunteers 1969

Bajram Mata – The volunteers 1969

One of the aims of Socialist Realist Art is to maintain the dignity of manual labour, in both the town and the countryside, and to challenge the idea that certain jobs were more prestigious than others. As all Socialist societies have developed the fight against the development of an ‘intelligentsia’ that saw itself better than the majority of workers became one of the on-running battles. Efforts to challenge this, by sending intellectuals, Party functionaries and those in comfortable occupations, were tried in all the four Socialist countries (the Soviet Union, the People’s Republic of China, Vietnam and Albania) but not continued for long enough to put the intellectuals into their place. The Cultural Revolution in China between 1966 and 1976 was the highest point in this struggle but even that eventually failed.

Bardhyl Dule - The construction woman -1971

Bardhyl Dule – The construction woman -1971

Women started to take on skilled manual jobs.

Bardhyl Dule - The Partisan courier - 1973

Bardhyl Dule – The Partisan courier – 1973

A similar theme is explored in the sculpture ‘On the road to war’ which can be found in Tirana Park. In the sculpture a peasant woman is giving water to a thirsty Partisan. This is by the sculptor Hector Dule. I don’t know for certain but I assume there’s a familial relationship and one piece of art nurtured the other.

Bardhyl Dule - The weeding of the olive trees - 1973

Bardhyl Dule – The weeding of the olive trees – 1973

I like the little joke in this painting where whilst all the others are working there’s a man in the bottom right hand corner, who is leaning against a tree reading a newspaper.

Clirim Ceka - July 30, 1978 - 1978-9

Clirim Ceka – July 30, 1978 – 1978-9

I don’t know the significance of the date in the title of this painting.

Dhimeter Mborja - freinds of the factory - 1969

Dhimeter Mborja – freinds of the factory – 1969

One of the principles established with the construction of Socialism was that the workers would live and work in the same place. This is not always possible but when we are talking about Collective and State Farms as well as major industrial complexes this makes sense. Apart from anything else this reduces the working day as people have less of a commute. This is not something ‘invented’ by Communism, it existed in the early days of the Industrial Revolution in Britain and hence you had the creation of ‘mill towns’ and ‘mining towns’. For the capitalists this was a method of control – with the mine/mill owners also being the landlords of any housing. This, the capitalists hoped, would be a barrier to industrial action. Under Socialism it was a way of bringing people closer together with the creation of a true community where amenities could be shared. This also happened in the capitalist situation with the development of mutual societies and clubs. But not everyone in a community would be necessarily working at the enterprise. They would be servicing the population in other ways, such as education, health and culturally. Hence the idea of those people visiting a works to understand exactly what went on behind the factory walls.

Edison Gjergo - The epic of the morning stars - 1971

Edison Gjergo – The epic of the morning stars – 1971

When I was in the National Art Gallery a few years ago this painting had an additional card beside it indicating that this painting, and the artist, had been criticised for its formalist style. However, presently there’s nothing to bring such a criticism to the viewer’s attention.

Edison Gjergo - The Founder - 1971

Edison Gjergo – The Founder – 1971

If Gjergo had been criticised for the previous painting on matters of style this one should have been criticised for its content. Here we have the worker as some Christ/John the Baptist like character. There’s something cold and dead about the expression which I don’t like, either.

Fatmir Haxhiu - Skroskie 1944 - 1966

Fatmir Haxhiu – Skroskie 1944 – 1966

This documents an event during the War of Liberation. This was another painting that previously indicated that it had been the subject of political criticism during the period of Socialism. This time due to the fact that the figure in the centre is that of Mehmet Shehu when he was a commander in the Partisan army. The painting was removed from display when he fell from grace in 1981.

Fatmir Haxhui - The Victor - 1979

Fatmir Haxhui – The Victor – 1979

A portrait of one of the victorious Partisans who liberated Tirana from the Nazi occupiers on the 17th November 1944. We know it’s Tirana with the image of the Et’hem Bey Mosque (Xhamia e Et’hem Beut). It wasn’t used much during the Socialist period and is now undergoing an extensive renovation.

Franc Ashiku - At the hydropower plant - 1971

Franc Ashiku – At the hydropower plant – 1971

The Albanians were always proud of the way they were able to electrify the country and the opening of a new hydro-powered plant was always celebrated. Immediately after the liberation of the country in 1944 one of the first aims was to electrify the country, just as Lenin had declared for the young Soviet Union after victory in the War of Intervention.

Fuat Dushka - The metallurgist - 1979

Fuat Dushka – The metallurgist – 1979

One of the few sculptures that are displayed inside the Art Gallery. There are, of course, the fine sculptures of Marxist leaders and other examples of Socialist realist art behind the Gallery building.

Harrilla Dhimo - The work of our hands - Fierze - 1979

Harrilla Dhimo – The work of our hands – Fierze – 1979

This is another painting that celebrates the production of electricity, this time the power plant at Fierze. The construction of the dam for this plant created the magnificent Lake Koman.

Hasan Capari - Portrait of a girl - 1972

Hasan Capari – Portrait of a girl – 1972

Not all the art created by painters during the period of Socialism concerned either the world of labour or the events of the War of Liberation.

Hasan Nallbani - Lifting up a garden hoe - 1966

Hasan Nallbani – Lifting up a garden hoe – 1966

Women were well represented in Albanian Socialist Art.

Ismail Lulmi - Landscape - 1974

Ismail Lulmi – Landscape – 1974

A landscape painting which depicts a State or Collective farm – which made Albania almost self-sufficient in food production during the period of Socialism. Following the counter-revolution of 1990 the land was distributed amongst the population and now Albanian agriculture resembles more what you would seen in Britain during feudal times with ‘strip’ farming being the norm.

Isuf Sulovari - Partisans resting - 1971

Isuf Sulovari – Partisans resting – 1971

Notice the young female Partisan teaching her older comrade to read during a respite from the fighting. Illiteracy was rife in pre-Liberation Albania and education was one of the early priorities of the Socialist state. That can be seen by the number of books that are printed in the Albanian language still to this day, totally out of proportion to the level of the population.

Isuf Sulovari - The giant of metellurgy - 1974

Isuf Sulovari – The giant of metellurgy – 1974

This painting depicts the construction of one of the factories in Elbasan – the centre of Albania’s metallurgy production during Socialism. This huge area is now almost totally abandoned for its initial purpose. Notice also the central character is a woman. Women were not reduced to manual jobs but also took on responsible roles.

Isuf Sulovari - The milkwoman - 1971

Isuf Sulovari – The milkwoman – 1971

A female dairy farm worker. From the size of the herd and the structures in the background this is another depiction of a State or Collective Farm.

Jorgji Gjikopulli - Flowers of life - 1970

Jorgji Gjikopulli – Flowers of life – 1970

Sunflowers used for the production of cooking oils. There were also extensive areas of olive oil plantations, especially in the south of the country close to Saranda.

Kristaq Rama - A contemporary of the Republic - 1964

Kristaq Rama – A contemporary of the Republic – 1964

A celebration of the working class – those who had the potential to make a new and glorious future. A task, eventually, the Albanian working class were unable to fulfil. Rama was involved in the creation of a number of some of the most important of Albanian lapidars such as Mother Albania in the Tirana Martyrs’ Cemetery; the 1912 Independence monument in Vlora; the monument to the artillery in Sauk; the monument to the year 1920 outside Vlora; the bust of Shota Galicia in Kukes. Rama is the father of the present Prime Minister, Edi Rama – who was also trained as an artist. Whether the father would be proud of the fact is not recorded.

Llambi Blido - At the commanding unit - 1971

Llambi Blido – At the commanding unit – 1971

The poster on the right argues that it is only the work of the Party and the system of Communism that will ensure the true emancipation of women.

Llambi Blido - Portrait of a girl - Alma - 1994

Llambi Blido – Portrait of a girl – Alma – 1994

This is the only painting in the present exhibition on the first floor of the Art Gallery that was created after the counter-revolution of the early 1990s. And it sticks out like a sore thumb. Although painted by the same artists as the painting that goes before it above if lacks any meaning. It’s the sort of kitsch that gets re-produced in thousands and gets a pride of place in the homes of some people who refuse to look at art with a critical eye. All that can be said of it is that it is ‘pretty’ but conveys nothing. It’s a chocolate box image. There’s no character in the face, we can deduce nothing about the sitter. Compare this image with the other portraits of young girls and women in the rest of the exhibition. Blido in his dotage.

Lumturi Blloshmi - At the industrial plant - 1974

Lumturi Blloshmi – At the industrial plant – 1974

Environmentalists might look on this picture in horror but in the early 1970s the building of these industrial complexes was seen as a great achievement of the Albanian people. And indeed it was. Under attack from the very first days of the revolution, especially by the British, it was crucial that the Albanian people were able to be as self sufficient as possible.

Muntaz Dhrami - Invigorate the Revolutionary Spirit - 1984

Muntaz Dhrami – Invigorate the Revolutionary Spirit – 1984

An allegorical sculpture from one of the finest sculptors produced by Albanian Socialism and he was involved in the creation of some of the best examples of Albanian lapidars. His work includes: Mother Albania, at the National Martyrs’ Cemetery in Tirana; the 1912 Independence monument in Vlora; the Monument to Heroic Peze; the monument to the Peze Conference; monument to the battle of Mushqete in Berzhite; the amazing arch at Drashovice; the monument to the year 1920 outside of Vlora; the Priske lapidar; and the obelisk to education in Gjirokaster.

Musa Qavri - Paving the road - 1972

Musa Qavri – Paving the road – 1972

Before Liberation there were few paved roads in the country, even in the towns and cities. It would take time to improve communication throughout the country. What Socialism didn’t achieve capitalism has not ‘rectified’ as there are still many parts of the countryside without metalled roads.

Nexhmedin Zajmi - Partisan ambush - 1956

Nexhmedin Zajmi – Partisan ambush – 1956

The success of the Partisans in the fight against both the Italian and German Fascists was their control of the mountains of Albania – which were as much as an antagonist in the war as the combatants.

Nexhmedin Zajmi - Still life with chicken - 1955

Nexhmedin Zajmi – Still life with chicken – 1955

Like landscapes still lifes were not really the fare of Socialist Realist art but, obviously, artists turned their hand to various subjects.

Nexhmedin Zajmi - The cascade of the Drin - 1969

Nexhmedin Zajmi – The cascade of the Drin – 1969

These I understand to be a trio who would have been working on the construction of one of the hydro-electric projects, the Drin being the river that runs close to the northern city of Shkoder.

Pandeli Lena - The operators - 1981

Pandeli Lena – The operators – 1981

Albania has extensive oil reserves and workers in the industry were often depicted in paintings.

Pandi Mele - Beyond the window - 1972

Pandi Mele – Beyond the window – 1972

This picture borders on abstraction and I’m not sure how this would have been received in certain circles at various times during the Socialist period.

Pandi Mele - The highlander - 1971

Pandi Mele – The highlander – 1971

If he plays with abstraction in his previous painting above here Mele captures the character of a peasant from the mountains.

Pandi Melo - Soldiers of the Revolution 01 - 1968

Pandi Melo – Soldiers of the Revolution 01 – 1968

Pandi Melo - Soldiers of the Revolution 02 - 1968

Pandi Melo – Soldiers of the Revolution 02 – 1968

Pandi Melo - Soldiers of the Revolution 03 - 1968

Pandi Melo – Soldiers of the Revolution 03 – 1968

The three paintings above were painted as a triptych and show soldiers of the Albanian People’s Army showing them involved in various activities, practising shooting skills (note it’s the woman who has the gun), in manual labour helping in civilian activities and in study of Marxist texts.

Petro Kokushta - At the height of light - 1981

Petro Kokushta – At the height of light – 1981

Constructing the dam, referenced by the lake below, is only one part of the electrification of the country. The distribution infrastructure also needed effort and, in this case, a head for heights.

Petro Kokushta - The assembler - 1979

Petro Kokushta – The assembler – 1979

The worker at the top of everything and this one is waving a red flag.

Petro Kokushta - The driver - 1971

Petro Kokushta – The driver – 1971

In place of aristocrats and other hangers on Socialist Realist places the ‘ordinary’ man and woman on the walls of the Art Galleries.

Petro Kokushta - To the Assembly with a cannon - 1979

Petro Kokushta – To the Assembly with a cannon – 1979

Here the attack on the Quisling Assembly, between German Nazis and so-called ‘Nationalists’, on 18th October 1944 is depicted. A section of the 3rd Partisan Brigade dragged a canon up to the hills above Tirana, in the area of Sauk, and fired down on the meeting as it was taking place in the Victor Emmanuel III Palace – which is just across the road from the National Martyrs’ Cemetery on the Elbasan Road from Tirana. The remains of the fascist, Quisling and coward Ahmet Muhtar Bej Zogu (the self-proclaimed ‘King Zog’) were buried in the building’s grounds in 2012. After Liberation in November 1944 the 18th October was declared ‘Day of the Artillery’.

Rafael Dembo - Going to work - nd

Rafael Dembo – Going to work – nd

Here we have a representation of the solidarity that comes with collective labour – directed to a common goal.

Sadik Kaceli - The crossing of the striking division of Brigade No 1 - 1954

Sadik Kaceli – The crossing of the striking division of Brigade No 1 – 1954

Many of the early Socialist Realist paintings concerned themselves with incidents from the National War of Liberation.

Sali Shijaku - Ilic Kici Dashi - 1978

Sali Shijaku – Ilic Kici Dashi – 1978

Dashi was one of the many who were designated ‘People’s Hero/Heroine’ after the War of Liberation from the invading fascists.

Sali Shijaku - The oilman - 1966

Sali Shijaku – The oilman – 1966

Oil workers were distinguished by their distinctive hats and combination cape. In any circumstance not a particularly pleasant job.

Sali Shijaku - The opening of new lands - 1970

Sali Shijaku – The opening of new lands – 1970

To prepare the land for the establishment of the Collective and State Farms, after the Agricultural Reforms of 1969 would have required and enormous amount of hard physical labour. What so few people achieved in such a short time is admirable. It is a tragedy that so much of that labour has gone to waste and the land they made workable now being left fallow – until some big corporation steps in and reaps the fruits of the millions of men and women hours needed to make the land productive.

Sali Shijaku - Vojo Kushi - 1969

Sali Shijaku – Vojo Kushi – 1969

Vojo Kushi was a young Partisan who, when surrounded in a house in Tirana by Italian fascists with two other comrades, rushed the enemy and attempted to throw a grenade into one of the tanks of the occupying forces. This is one of the largest paintings in the exhibition.

Seli Shijaku - At the Enver Hoxha Autotractor Combine - 1979

Seli Shijaku – At the Enver Hoxha Autotractor Combine – 1979

As a predominantly agricultural society it was imperative, in order to make collectivisation of the land a success, that machinery was introduced into the process. This both created an industrial working class in the creation of the tractors, ploughs and combine harvesters that were produced in the industrial centres as well as converting the peasant farmers into agricultural workers with skills commensurate with the workers in the cities. It is only this year that I’ve seen any development in the use of machinery in the countryside – and that on a small scale. What it took Socialism to achieve in 20 years capitalism has barely made any impact in 30 when it had a solid base to start from whereas Albania in the 1940s was starting from scratch.

Shaban Hysa - Beyond - 1969

Shaban Hysa – Beyond – 1969

The ‘Beyond’ here is not just the route of the electricity pylons but what this will mean for the construction of Socialism and the building of a new future for working men and women.

Skender Kamberi - The bread of our hands - 1976

Skender Kamberi – The bread of our hands – 1976

Here the various phases in the development of a wheat crop are conflated into one scene – semi-lyrical, semi-romantic. But the title is important and it stresses that what the workers receive is due to their own efforts. The land and all its fruits belong to them as a whole, as workers in the countryside and in the cities, co-dependent.

Skender Kamberi - The Bread Strike 1942 - 1971

Skender Kamberi – The Bread Strike 1942 – 1971

This is one of the most interesting of the paintings in the present collection – and I’d never seen igt before. This is an action filled canvas. There’s so much going on there’s too much to go into here. And I’m not exactly sure where this strike took place. Even before the Partisan war against the invaders took off in an organised manner there were many actions by unarmed workers against the invading Italian fascists. One other notable example was the strike of tobacco workers in Durres in 1940. There were also many demonstrations on the streets of towns throughout the country.

Skender Lako - Landscape of Pogradec - 1972

Skender Lako – Landscape of Pogradec – 1972

A charming landscape scene of the entrance to the town of Pogradec, on the shores of lake Ochrid, in the south-east of the country. The first painting in the exhibition to include a lapidar – which is way out of scale to the actual monument still in existence.

Skender Milori - A letter to the family - 1970

Skender Milori – A letter to the family – 1970

Two young women outside their tent in the south of the country – the sea and the olive trees on the terraces in the background suggest that this is close to Saranda. Young people were sent to the countryside in an effort to ensure that as city dwellers they didn’t get separated from the hardships of labour in the countryside. This was similar to what happened in China during the Cultural Revolution of 1966. As in China so in Albania some loved it, some hated it. Education given them by the revolution was then used to denigrate the Revolution’s achievements and eventually to undermine it.

Sotir Capo - The wireworker - 1969

Sotir Capo – The wireworker – 1969

A young woman working in a wire factory – where that might have been I’m not sure. What is certain is that there is no wire factory in Albania now. The building might, and probably does, still exist but it will be a mere shell, looted of anything valuable.

Spiro Kristo - Children - 1966

Spiro Kristo – Children – 1966

Albanian children were brought up with the idea that one day they might have to fight to defend their country. Unfortunately when it came to it they ran away and allowed their country, fought for with such bravery and with the loss of so much blood by their parents and grandparents, to disintegrate into chaos and disaster. A friend of mine was horrified when he saw this idea of children being taught about war but he seems to forget how that is entrenched in the culture of the capitalist ‘west’. He is also old enough to remember that many children in Britain, especially boys, had toy guns at a very young age – and ran around attempting to eliminate the entire indigenous population of America.

Spiro Kristo - The Brigade woman - 1976

Spiro Kristo – The Brigade woman – 1976

Another example of where a woman was in a position of responsibility – here a woman is keeping a record of what the Brigade has produced and who would have contributed what.

Spiro Kristo - The days of flying - 1986

Spiro Kristo – The days of flying – 1986

The idea of combat training is represented by the airman on the right playing with toy aircraft as they are involved in a dog-fight. In the background are lined up, probably, Chinese made MIG jets – ageing now as relations between the two countries had been broken just under ten years earlier. Now there’s no such thing as an independent Albanian air force – I wouldn’t be surprised if there wasn’t a single trained fighter pilot in the country. Now Albania’s ‘independence’ is protected by NATO.

Stavri Cati - Electrification 02 - 1969

Stavri Cati – Electrification 02 – 1969

The emphasis that was placed upon the electrification of the country in the 1960s is demonstrated by the number of paintings that were created in that time and which would have been exhibited in museums and art galleries throughout the country. Some of these galleries still exist – however many have been closed and quite possibly looted in the early 1990s. There are some, however, where materials from the Socialist period are being ‘stored’, often haphazardly, so there is a chance of the material being available to the public view in the future.

Vasil Talo - The opening of the terraces - 1966

Vasil Talo – The opening of the terraces – 1966

A vast amount of man and women hours were expended on the creation of terraces in order to increase cultivable land in the hilly parts of the country. The sea in this picture would indicate that this is, again, in the south of the country in the area around Saranda. Until the the early 1990s the whole area on this southern part of Albania – opposite the Greek island of Corfu – would have been covered with olive and citrus trees. Many exist but many more have been destroyed to provide the ugly holiday resort of Saranda and further south still, the holiday ‘resort’ of Ksamil.

Vilson Halimi - On the frontline everywhere - 1976

Vilson Halimi – On the frontline everywhere – 1976

The only family scene in the exhibition. Note the red banner with a slogan at the entrance to the village down on the left and the white lapidar in the background on the right – a little to far away to identify exactly which one it is or where.

Vilson Kilica - Declaration of the Republic - 1982-3

Vilson Kilica – Declaration of the Republic – 1982-3

A painting which celebrates the declaration of the People’s Republic of Albania in Tirana in 1946. (The country was declared the People’s Socialist Republic of Albania in 1976.) This is one of only two images in the exhibition of the leader of the Party of Labour of Albania and the country, from 1944 till his death in 1985, Enver Hoxha. He’s the figure to the right of centre, under the flag wearing a long, grey overcoat and saluting the crowd.

Vilson Kilica - In the studio - 1986

Vilson Kilica – In the studio – 1986

This is a strange one. It’s an intimate scene of an artist’s studio where we see both the artist and one of his sitters. That sitter is Enver Hoxha, who was painted a number of times by Kilica. BUT – Kilica has depicted himself as he would have been in 1986 but the image of Comrade Enver is of him as a relatively young man at the time of the Liberation of the country in 1944, or in the few years after. Also the painting was created the year after Enver’s death. Can’t work that one out.

Vilson Kilica - The Brigadiers - 1971

Vilson Kilica – The Brigadiers – 1971

A colourful and joyful picture of a couple of young women going to work on a Collective or State Farm. The various crops are represented by the different colours in the fields in the background.

Zef Shoshi - Establishing a co-operative in Malesia - 1974

Zef Shoshi – Establishing a co-operative in Malesia – 1974

The establishment of a Co-operative would have involved long and detailed negotiations and here we see the success of those discussions with all generations of the population of this mountain village being present at the closing ceremony. The Banner to the right states: ‘Glory to the Party of Labour of Albania’.

Zef Shoshi - The turner - 1969

Zef Shoshi – The turner – 1969

Another picture of a female worker in a skilled occupation, this time as a turner in an engineering works. Again it’s unlikely the place depicted is still working and I would have thought it is very unlikely, also, that a young woman would be following such a profession in today’s capitalist Albania.

Guardians of the country - 1969 - Spiro Kristo

Guardians of the country – 1969 – Spiro Kristo

A painting which seems to be very much influenced by the early Soviet artist Alexander Deineka.

Building the hydroelectric plant - 1971 - Ismail Lulani

Building the hydroelectric plant – 1971 – Ismail Lulani

A character portrait with the construction work as a background.


This is the exhibition of Socialist Realist Art as it is as of September 2019. There are a few pictures which have been in previous displays but – for whatever reason – were not considered for this particular phase. A few of those follow:

In the industrial complex - 1974 - Lumturi Blloshimi

In the industrial complex – 1974 – Lumturi Blloshimi

A picture created before the problems of air pollution were generally accepted as being important even at the time of industrial development in a country which before Liberation had virtually no heavy industry. Albania has little problem with that 30 years after the counter-revolution as the factories and works constructed during the time of Socialism were looted and now, in the main, exist only as ruins.

The Partisan Oath - 1968 - Guri Mahde

The Partisan Oath – 1968 – Guri Mahde

A painting that puts the Party at the centre of everything – the oath is to the liberation of the country from the Fascist invader but also to the cause of Communism.

Tree Planting - 1971 - Edi Hila

Tree Planting – 1971 – Edi Hila

Another painting that celebrates collective endeavour in the countryside.

Partisan School - 1969 - Sotir Cano

Partisan School – 1969 – Sotir Cano

This is an interesting one as Cano painted at least another version. Here we have the important task, even in times of war, of the education of the Partisans – the majority of whom would have been illiterate. This version has been displayed in the National Art Gallery in recent years.

Partisan School 2 - 1969 - Sotir Cano

Partisan School 2 – 1969 – Sotir Cano

This version used to be displayed in VI Lenin Party School in Tirana. Whether it still survives may be in doubt. This has the same general composition but there are changes in the genders of some of the main figures.

Worker with hammer - 1938 - Sofia Papdhimitri

Worker with hammer – 1938 – Sofia Papdhimitri

Not a ‘Socialist Realist’ painting as it predates the Liberation of the country.

I also have the intention of adding to the blog images of other art works I have encountered in other art galleries/museums in the country. Sometimes they are difficult to find but there are still a few places where the art of the Socialist period of Albania’s history can be appreciated.

 

Robert Mugabe – an appreciation of a revolutionary

Robert Mugame being welcomed by an independent Zimbabwe

Robert Mugame being welcomed by an independent Zimbabwe

I will be one of those today who will be saddened by the news of the death of Robert Mugabe. He was, without a shadow of a doubt, the finest leader the African continent has produced to date and because of this his death will be celebrated, although behind closed doors (hypocrites that they are), by those who regret the loss of the African colonies to the European imperialists.

In a version of the famous phrase of Chairman Mao ‘to be attacked by the enemy is a good thing and not a bad thing’ what commentators will be saying over the next few days about Robert Mugabe will be directly connected to the way in which they see the end of colonialism.

In an attempt to present themselves as ‘impartial’ many will praise Mugabe for the early years of his leadership of the independent state of Zimbabwe. But they will do this as the first 15 to 20 years or so of independence was when Mugabe (an honourable man as he was, sometimes to a fault) adhered strictly to the agreement made at Lancaster House in London at the end of 1979.

As part of that agreement the handful of whites that still lived in the country (an estimated 100,000 out of a population of 7 million in 1980) were given a ten per cent guaranteed representation in the Zimbabwe legislature for a period of ten years. This was as ludicrous a situation as the similar number of people who imposed the buffoon Johnson upon a population of more than 60 million Brits earlier this year.

Whereas the more recent example just demonstrates the stupidity of the British population the acceptance of this ‘crime’ in the Zimbabwean context was to ensure the speedy end of the war against white minority rule that had already cost the lives of 47,000 black Zimbabweans both fighters and civilians – the Rhodesian fascists considering anyone in the wrong place at the wrong time to be a guerrilla and therefore fair game.

Also as part of this agreement there would be no forceful takeover of the lands of the white colonialist farmers who controlled the most fertile land and with access to ample supplies of water – even in the situation of a drought.

As these measures didn’t affect the fundamental situation of who controlled the wealth of the country it’s no surprise that the ex-colonialists will consider this period to be the time of the ‘good’ Mugabe. Revolutionaries – although accepting that Mugabe only did this as he wanted to stand true to an agreement he had made in good faith – will consider this period as a time when the revolution lost momentum.

The British establishment didn’t like Mugabe preferring Joshua Nkomo, who they correctly thought they could use as their puppet and surrogate representative of colonial interests. Over the years many politicians around at the time of the agreement openly stated this. Neither did the British government, whether Conservative throughout the 80s or Labour when they came to power in the 90s, provided the monies and the expertise that was promised in order to transfer a great deal of the agricultural wealth of the country to the black majority. .

If I have any criticism of Mugabe at this time it was that he was too honourable and kept to an agreement which was being ignored by the other signatory.

Droughts caused local problems during the 80s and when the protection to white representation and the restriction on the takeover of white farms was effectively lifted Zimbabwe was hit by another blow in the way the country was denied credit and loans from the World Bank and the International Monetary Fund – unless Zimbabweans agreed to the privatisation of the principal wealth generating industries (which included the very lucrative mining industries) in the country. A combination of these varied pressures made things difficult for Mugabe as leader of the government and this allowed for the promotion of a so-called alternative in the jumped up trade union leader Morgan Tsvangirai.

His arrest and removal in 2017 was the result of frustration in the country that was unable to thrive under enforced international isolation. He became, in effect, a scapegoat for the problems that were not of his making.

The way in which the ex-colonialists supported this pretence of a leaders demonstrates the fact that should never be forgotten – the colonialists will NEVER give up and they will continue for decades if need be to re-establish their influence in those countries they have lost to independence struggles by the African majority. The bloodstained hands of the British, French and Portuguese can be seen in South Africa, Rwanda and Angola.

Mugabe also never gave up on the idea that armed struggle was the only way that colonised and oppressed peoples can ever gain their freedom and independence. This was something else for which the capitalist and imperialist could never forgive. Even though the wars they have instigated in the past, and will promote in the future, have cost the lives of millions and the suffering of many millions more with their highly sophisticated weaponry they cannot accept the taking up of the AK47 by the exploited and oppressed of the world. They will even go so far as to destroy the world if need be to achieve their goals.

Imperialism would rather those calling for reconciliation and a forgetting of the past – such as Nelson Mandela – be the role model for any future wars of independence. The economic situation in Zimbabwe is a result of the isolation and pressures placed upon the country by international capital but it would take a true optimist indeed, if not a blind fool, to argue that the situation in South Africa for the majority of the African population has improved substantially since the end of Apartheid. And South Africa is very much still in the clutches of the imperialists.

If Mugabe’s reputation and past will be trashed by those looking back to a time when the predominantly white countries of the world could rule wherever they wished with impunity his legacy will be treasured by those who fight for a better future for the oppressed and exploited of the world. It must be remembered that whilst the white cretinous leaders were fooling around and taking ‘selfies’ at Mandela’s memorial gathering it was Robert Mugabe who received the warmest welcome by the African crown.

Yes, Robert Mugabe made mistakes. Only those who don’t try something new will never make mistakes. Even the true giants of world Communism, Joseph Vissarionovich Stalin and Chairman Mao Tse-tung, made mistakes. Those mistakes don’t detract from their achievements and neither will those of Robert Mugabe detract from his.