This article first appeared in issue No 6, 1969 of the bi-monthly magazine New Albania which reported on the biennial exhibition of Figurative Art that was held in the National Art Gallery in Tirana earlier in the year.
(All the reporductions here are of works of art that were on display during the 1969 exhibition.)
The Dam of Drini – Nexhmedin Zajmi
The Revolutionary Spirit in Albanian Painting and Sculpture
The most important manifestation in the field of the Albanian figurative arts is the national exhibition which, as a rule, is held once in two years. This year its motto was the 25th anniversary of the liberation of Albania and it opened on the eve of this jubilee day.
Testing – 1969 – Andon Lakuriqi
The artists’ creative work in socialist Albania has been constantly expanding. We have now a great number of painters and sculptors who are not only professionally trained but have also proved their creative artistic capability. There is side by side with them a big army of amateur artists who also wants to make their contribution to the new socialist art. The Party of Labour of Albania has always paid special attention to the development of literature and arts, its main concern being that art should reflect the life of the people, that it should militate for communism, that it must have a revolutionary content. Our art which is realistic and deliberately tendentious finds this revolutionary content in the very reality of our socialist life.
Working Girls – 1969 – Bajam Mata
The national exhibition of figurative arts is of special interest from the point of view of the reflection in art of the all-round revolutionization of our society. The Albanian painters and sculptors have drawn inspiration from the life, work and thought of the working class of present-day Albania, the leading class of the revolution. In big tableau which sometimes assume monumental proportions and character such as Vilson Kilica tableau ‘The workers’,
The Workers – Vilson Kilica
Clirim Ceka’s painting ‘The technical scientific revolution’ there have been delineated in bright and light colours characters of workers in moments of their life and work in factories and plants. The painters have shown less interests in the simple everyday fact than in the great thought, which is inclined towards epics form, that the working class who is mastering theory and technique and who is the master of this country has reached the high peaks of science and is marching forward confident in its own strength. Joyful and fully optimistic is the life in our collectivized countryside as painted in Jusuf Sulovari’s tableau ‘The harvesters’.
The new look of socialist Albania which is forging ahead has inspired the painters to create beautiful landscapes, no more of an exotic character, but of a modem country which lives a happy intensive life. We see this in the landscape ‘500 new flats’ painted with compactness of style by Skender Topi.
The National Liberation War holds the main place in the creative work of the Albanian painters and sculptors. The more so would be the case with this exhibition.
Friends of the Mechanics Factory – 1969 – Dhimiter Mborja
In one of the main halls, one’s eye is struck by ‘The People’s Hero Vojo Kushi’ painting by Sali Shijaku.
The painter has been inspired by an event of the National Liberation War known to everybody. It is the moment when Vojo Kushi encircled with his three other comrades by the fascists in one of the Tirana slums before laying down his life for the freedom of the people threw himself upon a tank hurling a grenade to it. The painter’s image of the hero is that of a legendary figure amidst flames; his red shirt fluttering up like a banner which will remain such for centuries. Many paintings, sculptural groups, portraits and busts evoke moments, historic events or prominent figures of the glorious struggle of our people. Such is for example, the painting ‘The order from the staff’ by Hasan Nallbani which delineates the fighting and unyielding spirit of a brave partisan unit.
Farther (Me tej) – 1969 – Shaban Hysa
The revolutionary spirit prevailing nowadays over Albanian life, the great actions of the youth who are tempered while working for the construction of big projects, the selfless spirit to serve the people whenever and wherever need be, the high patriotic spirit to be ready to defend the fatherland from all enemies, all these lofty virtues instilled in our people during this quarter of a century could not but find their reflection in the works created by the Albanian artists. Shkurte Pal Vata was a very young volunteer girl from the highlands who died bravely at her post while working for the construction of the Rrogozhina-Fier railway. Her enthusiastic and romantic portrait has been lyrically and dynamically portrayed by the sculptor Mumtaz Dhrami.
Shkurte Pal Vata – Mumtaz Dhrami
Another valiant patriotic woman who had once commanded the fighters in the struggle against the foreign invaders and who fought all her life for the freedom and independence of the fatherland, is Shote Galica whose vivid and brave portrait we see cast in bronze by the sculptor Kristaq Rama.
People’s Heroine Shota Galica, Kristaq Rama
Likewise, the joyful life of our youth who are moulded in the great actions they undertake for the development of the socialist fatherland has been reflected in rich colours in the tableau ‘The return of the youth brigade’ by Dhimitraq Trebicka.
Guardians of the country – 1969 – Spiro Kristo
Many other aspects of our life have also been touched by the painters and sculptors. The national exhibition of the figurative arts is a manifestation of the flourishing of all kinds of plastic art starting with monumental painting and ending with various graphics. What is more, the 160 works displayed here and created by 110 artists have been selected among hundreds of works presented by authors of the whole country. The artists have not hesitated to face the difficulty of the work over big tableau or big sculptural groups, which thing has been dictated to them by the themes, thoughts and great epic ideas of the time they wanted to reflect. What is important is that they express themselves clearly by using such artistic means as are communicative and understandable for the broad masses. Basing their creative activity on the best traditions of the people’s art, by using a realistic style and guided by the revolutionary and optimistic tone of the life of their socialist fatherland, the painters and sculptors have created dynamic works, using various complete forms as well as rich and bright colours.
Danish Jukniu – In the light construction site
The works of this exhibition are the fruit of the socialist realism method far from any other decadent form content, or sickly subjectivism as is the case with the bourgeois and revisionist art. They are works which communicate with the people and whose aim is to serve the people and socialism.
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.
From the late 1960s a biennial exhibition of figurative art was held in the National gallery (many of the examples below would have been entered into those competition).
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
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
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
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
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
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
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
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
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
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
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
Women started to take on skilled manual jobs.
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
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
The date in the title of this painting could be a reference to the first steel being made in Albania after the ideological and economic break with the People’s Republic of China and a return to self reliance.
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
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
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
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
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
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.
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
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
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
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
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
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
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
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
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
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
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
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
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
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
Albania has extensive oil reserves and workers in the industry were often depicted in paintings.
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
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 02 – 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
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
The worker at the top of everything and this one is waving a red flag.
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
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
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
Many of the early Socialist Realist paintings concerned themselves with incidents from the National War of Liberation.
Sali Shijaku – Ilic Kici Dashi – 1978
Dashi was one of the many who were designated ‘Hero/Heroine of Socialist Work’ after the War of Liberation from the invading fascists.
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
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
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
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
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
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
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
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
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
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. The wire factory was in Shkoder and was supplied with raw materials from the copper enrichment plant at Rubik, Mirdite.
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
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 – 1968
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 Russian or Chinese made MIG jets. 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
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
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
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
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
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
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
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
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
A painting which seems to be very much influenced by the early Soviet artist Alexander Deineka.
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
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
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
Another painting that celebrates collective endeavour in the countryside.
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
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
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.
There are very few contemporary reference books on Albanian Socialist Realist Art – although there are albums of work from the erstwhile Soviet Union and the People’s Republic of China nothing comparable has been produced for Albania – but material was produced during the time of Socialist construction. Here we reproduce two of those albums, any others will be added if they become available.
Figurative Art in the People’s Republic of Albania – 1969
However, the years since the neo-Fascist Counter-Revolution of 1990 have not been kind to the large sandstone bust of Comrade Enver. The fascist thugs who attacked this particular statue were not particularly efficient and all they succeeded in achieving is a somewhat radical nose job, with some scarring around the eyes and mouth. Unfortunately (to date) I have no idea of the provenance of this statue – not from where it originally was placed nor who the sculptor might have been.
Enver Hoxha – the nose always get attacked
The last time I was able to visit the ‘Sculpture Park’ was in the autumn of 2016 and at that time the bust was covered in a heavy, white tarpaulin. Local people I knew said that it was rumoured to be that of Enver Hoxha but as an outsider there was no way I was able to confirm or deny this.
Why the statue was even brought to this location in the first place is a bit of a mystery. If the thugs who attacked it (presumably in the early days of the counter-revolution, now almost 30 years ago) were not able to destroy it then such vandalism is well within the bounds of a modern state – which marches further and further, at each passing day, away from anything which Comrade Enver and the Party he led hoped for the people of their country. I think it’s quite amazing that it even exists at all. This is especially so in the present cultural environment where lapidars are being destroyed if they stand in the way of ‘modernisation’.
Independence comes at a price and eventually enough of the population of the country didn’t want to pay that price. Because the road was long, tortuous and hard they handed their country, their collective wealth and their fate into the hands of those who were quite happy to sell all of that to the highest bidder.
Reactionary forces, both within the country and those who had been in effective exile since 1944, were promoted and through a series of social, political and economic manoeuvres, shenanigans and disasters virtually all those gains of Socialism were swept away. Industry and agriculture were effectively wiped out and even the savings of ordinary Albanians were stolen by mafia criminals through the likes of pyramid and ponzi schemes.
Enver would have be furious at the way the people were robbed of all they had achieved in 40 long, hard years of the construction of Socialism so perhaps it was best he had died before it all fell apart. As such the destruction of the country would not have happened if Enver had still been alive. What happened in Albania after the death of such a clear thinking leader is that which unites him to the two other great Marxist-Leninist thinkers and leaders with whom he now shares the not really salubrious location of the back entrance of the National Art Gallery.
The people of the nascent Soviet Union were fortunate that with the premature death of Vladimir Ilyich Lenin in 1924 ( precipitated by an attempted assassin’s bullet in 1918) there was another strong willed, determined and fearless champion of the working class (and peasantry) waiting to take the country into an uncertain and dangerous future. That leader was Joseph Vassarionovich Stalin.
The ‘Albanian’ Uncle Joe and Comrade Enver
Now those three leaders are united in art in a way they never were in real life. And it is sad to say that although Enver has gone through the wars it is Vladimir Ilyich who has suffered the most since being removed from his plinth just a few metres from where he is now. With Lenin the reason for his shortage of limbs is more due to greed than political antagonism, which is the reason for Enver’s lack of nose. Many of the monuments throughout Albania have had those parts that are easy to saw off removed for the simple reason of being weighed in as scrap metal. On the other side of the coin it is Uncle Joe who has survived the best.
The ‘Russian’ Stalin
Both the black, distinctively Russian, Stalin, presented to the people of Albania by the Soviet Union just after the death of the great leader in 1953, and the equally distinctive Albanian Stalin (that almost certainly used to stand on a plinth outside the textile factory that bore his name in the town of Kombinat, to the west of Tirana along the ‘old’ road to Durres) are in an almost perfect condition. (This is also the town in which Comrade Enver is now buried after his removal from the National Martyrs’ Cemetery.)
Of the group Enver is also the only statue that is made of stone. This is a slight move away from the traditional lapidars throughout Albania and perhaps was a move that took place after Enver’s death in 1985. The overwhelming number of Albanian public statues are of bronze.
It is true that many of the early manifestations of the early lapidars were originally made of plaster but that was more to do with cost than anything else and many, like the Five Heroes of Vig, were replaced with bronze versions when the resources became available. A number of the really large lapidars, such as the Arch at Drashovich and the Berzhite monument were made of concrete. Carved stone is a rarity when it comes to such public sculpture.
As well as the addition of a new visitor the whole area now looks a lot less neglected than it did a few years ago. Considering it is the National Gallery, and therefore a supposed show case for the country, the back of the building looked more like what you would expect from a building due for demolition.
Firing from the mountains
But the cleaning up of this area might also have something to do with the growing ‘regeneration’ of the central Tirana area. The central market is nothing like you would normally see in a Balkan country and has the sterile feeling of some of the markets in London – as well as higher prices and consequently fewer people.
The tragically neglected Dajt Hotel – which, by all accounts, was a masterpiece of Socialist Realist decoration which was just left to rot – is now under renovation. This means the general area is being cleaned up and that has spread over to the ‘Sculpture Park’.
Another change is that there’s no security guard always around to prevent the casual visitor from getting up close to these statues. It was one of my games in the past to get behind the guard without him realising – and then feigning ignorance when he eventually caught sight of me.
There’s also advantage of these statues being in their new location. You can actually get up really close and touch them, fell the texture of the metal, and now the stone, of the art works. You can see them from all sides and also appreciate how big these statues are. They were all originally designed to be standing atop a tall plinth. If the actual statues in that location were not much bigger than life size they would have seemed out of proportion. (Refer to debates about the proportions of the ‘David’ of Michaelangelo in Florence.) In the ‘Sculpture Park’ you truly look up to these giants of Communism.
Also, on this visit, I was able to see that the ‘Russian’ Stalin actually has been ‘signed’. This ‘discovery’ was not too pleasant. On many of the posts I have made in the recent past about Albanian lapidars I have made a point of stating that I like the idea the works of Socialist Realist sculpture weren’t signed. It wasn’t until the late 1980s that this started to change, as in the Martyrs’ Cemetery in Lushnje and the bas relief in Bajram Curri. I will have to look in to the way public statues were presented in the Soviet Union to see how this different approach developed – when I get the time.
The signature on the ‘Russian’ Stalin
But before leaving the ‘Sculpture Park’ I should not omit to make mention of the wonderful Liri Gero – the courageous Communist Partisan murdered by the German Fascists whilst she was still in her teens.
Liri Gero on her own
The Communist Heroine Liri Gero
She still stands in the location she has held for a number of years – facing the group on the other side of the courtyard, alone, yet with a dignity and steadfastness that truly represents the young People’s Heroine. A young woman prepared to take up arms for her own liberation and for that of her country. Instead of being a ‘role model’ (the current ‘in’ term that’s used for shallow so-called ‘celebrities’) to young Albanian women I would doubt if many of them in their teens now would even know who she was. As a consequence their lives are likely to be as shallow as those of the celebrities they so admire.
If there were enough reasons to visit this ‘Sculpture Park’ in the past, the presence of Enver (the only public statue of him I’ve seen in the country) is yet another.