Proger – First Party Cell of the PKSH

Posted on 17/01/2016 by Michael

Proger – First Party Cell of PKSH

Proger – First Party Cell of the PKSH

The majority of the lapidars throughout Albania celebrate the events of the National War of Liberation and those who fought and died in that struggle. Others celebrate and commemorate events in the period of the construction of Socialism but there are few (probably a surprise to many) that are specifically devoted to the Communist Party of Albania (later the Party of Labour of Albania). One such – I only know of one other and that’s on the facade of the museum in Ersekë – is to the First Party Cell of the PKSH in the small village of Progër, close to Billisht and Korçë, not far from the border with Greece in the south-east of the country.

The lapidar consists of a huge, rectangular, concrete block on to which is attached a plaster bas-relief. This concrete mass is sitting on a plinth of large granite blocks. At the extreme left hand edge a large figure of a male partisan sits on a concrete plinth which is set out from the main block but the back of his body is attached to, and becomes part of, the main scenario.

We don’t see all the figure, he’s depicted from the thighs up. He’s staring straight out towards the viewer and his right arm is fully extended above his head, with the fist tightly clenched in a Communist salute. From the shoulder to just about the location of the thumb this arm is separate from the rest of the tableau. At the top of the hand he again becomes as one with the rest of the story.

He’s dressed in the full uniform of a Communist Partisan. This means he wears a cap with a star on the front and around his neck what would have been a red scarf, knotted at the front. He has two straps coming from his shoulders which cross in the middle of his chest. At the end of the strap that goes over his ammunition belt on his right hip hangs a small, cloth field equipment bag. The strap going down to the left, passes underneath the ammunition belt and this is attached to a revolver in its holster. We can see three ammunition pouches on this belt, each containing five bullets. Close to the equipment bag a Mills bomb hangs from a strap attached to the belt. In the space below where the straps cross it’s possible to make out the buttons on his jacket, The pockets on both sides of the jacket, over his breast, can also be seen. His left hand grips the top of the barrel of his rifle. Apart from the barrel we see nothing of his weapon and it looks as if the very top of the barrel has been broken off (a piece of the steel reinforcement sticking out of the plaster).

Immediately in front of his right thigh there’s an indistinguishable lump of plaster. It’s about the size of a football but I can’t think of what it could have been. The fact that it’s impossible to work out what it’s supposed to be suggests that this part of the statue has been the victim of vandalism.

Communist Partisan – Proger

Behind the Partisan’s head are the top three points of a five-pointed star. This suggests a religious comparison as it looks very much like a halo – one of those artistic references which come from previous artistic styles.

Above this star/halo is a larger star, its left most point reaching the left hand edge of the tableau. In the middle of this star are the letters PKSH. This stands for Partia Komuniste Shqiptare – Albanian Communist Party. This is the largest of all the stars on the lapidar. On either side of the uppermost point of the big star is a small star.

As we move towards the right we have two males, not in the uniform of a Partisan, but wearing the sort of clothes worn by workers in the 1940s. The first one is shown with his face in profile, as if he is speaking to his comrade. On his head he has a flat cap and is wearing a long overcoat. Hanging from his right shoulder is a strap and a bag of some sort appears to be at resting against his right thigh. It’s difficult to tell for definite but he seems to be wearing the long socks pulled up over his trousers – as is the case with the Partisan in the Korçë Martyrs’ Cemetery. He doesn’t appear to be armed in any way. His right arm is bent and his right hand is near the lapel of his coat, perhaps he’s making a point by using his hands to emphasise his argument. His left hand is resting on the shoulder of his comrade, an indication of their closeness and friendship.

Comrades – Proger

The next male is looking to his right, towards his companion, but we can see most of his face. He also has a flat cap on his head but his clothing is slightly different, although still workers clothes. He wears a short jacket and has extremely baggy trousers. On his feet he has the sandals common at the time. To give an indication of the detail we can make out the buckle on the belt around his waist. He is holding a rifle, half way along the length of the barrel, in his left hand – we can see most of the gun, only the end of the butt being hidden behind one of the other figures. Both these figures are standing on a ledge at roughly the level of the previously described uniformed Partisan’s elbow.

To the right of the head of this second male are three stars, a large one with a smaller one on either side. The left most point of the big star seems to overlap the smaller star on that side.

Below the stars, as if written on a wall, are the letters VFLP. These stand for ‘Vdekje Fashizmit – Liri Popullit!’ (‘Death to Fascism – Freedom to the People!’) – the common slogan of the Communist fighters and supporters. We have already seen these letters before, for example, on the lapidars in Peze.

The next figure is laden with symbolism and is the epitome of the Albanian Cultural Revolution of the 1960s/70s. This is of a female Partisan. Although not as large as the first male on the extreme left she is the central image on this lapidar. She’s virtually in the centre of the rectangle and carries with her the main symbols of the National Liberation War and the subsequent attempts to build Socialism.

The Spirit of Communism – Proger

She is shown as if she is running forward, her whole body giving the impression of movement. Her left arm is raised high over her head and is stretched out in front of her. She is gripping the short pole to which is attached the red flag of the Communist Partisans (and later, until the 1990s, to be the national flag of the country). She holds the pole just where the flag starts, the bottom end of the pole resting against her forearm. The flag itself streams out above and behind her head. On the flag is the double-headed eagle above which is a star. The folds in the material of the standard adds to the impression of movement. The very top inches of the flag protrude above the rectangle upon which the other images appear, slightly breaking the confines of the block.

The element of movement is also enhanced by the fact that her right arm is bent slightly behind her and in her hand she holds a Beretta Model 38 Sub-machine gun (seen before on the Drashovice Arch). Only one of her legs is seen and that is bent as she runs forward. Her face is in profile, just the right hand side seen, and she has her long hair tucked under her cap. This is an image seen before on the monument to the 68 Girls of Fier, amongst others. She’s dressed in the full uniform of a Communist Partisan and that means a star on her cap and a ‘red’ neck chief, stressing her political allegiance.

This centrality of an armed female is a fundamental of works of Socialist Realism of the period, clearly seen on the most well-known image of the mosaic on the façade of the Historical Museum in Tirana.

Below her is a male partisan with his right knee on the ground, in the act of firing his bolt-action rifle. He has the rifle butt up to his right shoulder and it’s possible to make out a star cut into the wood of the butt, a tradition from early independence struggles which was carried over to the war of 1939-44. He is also in full uniform, wearing a cap with the Communist star. There are puttees on his shins. These were (and versions still are) worn to protect the legs from damage in the rough terrain of the Albanian mountains. His feet rest on top of the letters that run from left to right along most of the bottom edge of the sculpture.

This takes us to about two-thirds of the way along the monument and here we have an actual physical line of division. This line runs from the wrist of the female partisan holding the flag to just before the left toe of the boot of the kneeling male partisan (the top of the line ‘hidden’ behind the fluttering flag). But I’m not too sure why.

All the images on the left depict the story prior to victory over the invading Fascists in November 1944. If the section on the right was to depict events after Liberation it would make sense, but that doesn’t seem to be the case. My doubts stem from the next image.

With his right foot resting on top of the letters at the bottom of the rectangle we have a large, older male. Here we don’t have the representation of a worker but of someone from the countryside. He wears a cap similar to the two workers who are having a discussion but the rest of his clothing, and his look, is more of a peasant than a town dweller. First, he has a bushy moustache, which was becoming rare in the towns. Secondly, his jacket looks home-made, two straps keeping what, I assume, is a leather jerkin closed at his chest. He wears baggy trousers with gaiters buttoned over his shin, more common and usual before the use of puttees (which were mainly for military use). His right foot is on solid ground but his left is on some sort of man-made walk way in the hills – an image I haven’t seen before.

He’s very muscular, as he has to be in order to lift the huge rock he has in both hands, his arms straight as they strain to take the weight. But why is he moving this rock? What prompts the question is that he has the top of the barrel of a rifle sticking up behind his right shoulder. Without the rifle it could be argued that he is building a wall or clearing a patch of land for cultivation. But if that was the case why does he need his rifle? This area is very close to the Greek border and there were incursions into Albania by British and American supported monarcho-fascists in the early days of Socialist Albania. There’s a monument to one such repulsed encounter in the town of Bilisht, only about 5 kilometres away (as the crow flies), on 2nd August 1949. That would explain why people were vigilant and keeping arms to hand but not necessarily on their person at all times when doing hard, physical labour in the countryside.

However, there is an image very similar depicted in a painting by Sali Shijaku, called ‘Skenderbeu’s Artillery’ (1968), where a huge rock has been moved to a high vantage point to drop on any invader. (Shijaku also painted the image, which is in the National Art Gallery in Tirana, of the last moments of Vojo Kushi.)

Skenderbeu’s Artillery, Sali Shijaku, 1968

So I’m uncertain of how exactly to interpret this image.

Because the final figure on the lapidar is definitely representing the new Albania after Liberation. Here we have a true Amazon. It’s the image of a country woman, facing straight out, her feet apart, and holding a large sheaf of wheat above her head, with both arms bent at the elbows. She’s a young woman with long hair hanging down both sides of her head and wears a long, simple peasant dress reaching half way down her shins. There looks to be a simple cord pulling it in at her waist. There’s a similar representation of a peasant women in the large sculpture called ‘Toka Jonë – Our Land’ (by Perikli Çuli, 1987) in the centre of Lushnje.

Building Socialism – Proger

If you look at the two peasant figures together it appears that the older man is bringing the young woman a huge rock but although I’m sure she could lift it I really don’t see the connection between them.

At the very bottom of the lapidar is the written explanation for the monument. Starting immediately to the right of the large male Partisan on the extreme left are the words:

‘Më 21 XI 1941 në fshatin Progër u krijua celula e parë e partisë në zonë [n e …]’

Which translates as:

‘On 21 XI 1941, in the village of Progër, the first Party cells were established in the area [n…e…]’.

(This was very soon after the establishment of the Communist Party of Albania in Tirana.)

The last words have been totally obliterated and, so far, I’ve been unable to find information on what is missing. Someone has tried to plaster over the remaining words but that vandalism hasn’t been that serious and they can still be read.

This is the first time I’ve seen a lapidar where the target of vandalism has been the written text. Normally it’s the stars that bear the brunt of the hatred.

The sculptor is unknown, as is the date of its inauguration, although often the unveiling of story-telling lapidars would coincide with an anniversary of the event being celebrated. Very often a local sculptor would receive the commission but Progër is still today a small village so the sculptor might have come from further afield.

Apart from the actual vandalism to the text the lapidar shows some signs of damage, The nose of the young woman with the sheaf looks broken and there are a couple of other places where damage doesn’t look like the result of time or general neglect. Unlike many places this monument hasn’t received a recent coat of paint, whether by design or just waiting to get some attention is unclear – local politics playing a role in this.

Although not unique there’s a fence with a locked gate to limit access from the road, necessitating a little bit of climbing and a short walk over rough ground in order to get close.

There used to be many small museums throughout the country during the Socialist period, with virtually all the Martyrs’ Cemeteries having at least a room where artefacts were displayed. In addition most towns would have a small, local museum. There are few remaining. Most were looted or vandalised during the early days of the reaction and now they are few and far between – although the recent renovation of the City Museum of Fier might be the start of a general move to recognise and remember the past.

Museum – Proger

In tiny Progër there was a museum just to the left and above the lapidar. It is no longer a museum but has, at least, been put to constructive use as it is now a small polyclinic – although the word ‘Muzeu’ can still be seen, in large letters, above the main entrance.

For such a small village Progër is home to two other lapidars, one commemorating the opening of the first school in 1908 and another to those from the village who fell in the National War of Liberation.

Location:

Progër is a small village 3 kilometres to the east of the road from Korçë to Bilisht.

GPS:

40.69477499

20.94036503

DMS:

40° 41′ 41.1900” N

20° 56′ 25.3141” E

Altitude:

844.7 m

Martyrs’ Cemetery, Korçë

Posted on 03/01/2016 by Michael

Martyrs’ Cemetery, Korçë

More on Albania …..

Martyrs’ Cemetery, Korçë

Many of the martyrs’ cemeteries in Albania are situated on hills above the towns and villages and this is certainly the case with the Martyrs’ Cemetery, Korçë, where the highest point is a fair hike from the centre of the town below. However, it’s worth the effort as, on a clear day, you have a fine view of the town, the fertile valley below and the mountains to the west as well as a fine example of Socialist Realist Art.

At the very top of the steps, with the tombs of the fallen partisans fanned out on either side of him, is a large statue of a male Partisan. Throughout the country there are a number of Martyrs’ Cemeteries that include such a stand alone, bronze statue. These include Ersekë, with yet another single male Partisan; Librazhd, where the statue is of a male and female; Lushnje, with a very charming statue of a kneeling female Partisan with a young boy; and Pogradec, where there is a group of three, two males and one female.

The statue is about twice life-size and he stands with his feet slightly apart, on top of a concrete plinth. He is dressed in the uniform of a partisan and wears a cap with the star on the front. Around his neck is a tied bandana – so, as is often the case, declaring his status as a Communist. On the belt around his waist there are three ammunition pouches (of five bullets each) in sight. On his feet he is wearing shoes rather than boots but as added protection against the elements he is wearing long, thick socks into which the bottom of his trousers are tucked, the sock reaching just to below his knees.

Martyrs’ Cemetery, Korçë

His left arm is stretched up to its full extent above him and the fist is clenched. This, to me, is the authentic Communist salute. His right arm is bent at 90 degrees and his right hand is tightly gripping the top part of the barrel of his rifle. This is a bolt-action rifle and the butt is resting on the ground, just before his right foot. He is looking down on the town of Korçë and into the distance where, at this height, it’s possible to see the mountains of Skrapar.

At the end of 2011 the general area of the cemetery, including the stepped approach was in a sad state. This included the statue, showing signs of wear and noticeable marks on the surface of the bronze. As with many of the Albanian lapidars there has been quite considerable renovation in the last year or so and the result of this is that the statue has had a very recent coating of gold paint.

The sculpture is the work of Avni Bilbili, Piro Dollaku and Ilia Xhano and was created in 1969. That’s early in the construction of Albanian lapidars and the Cultural Revolution. It was very common for there to have been a plaster statue in place initially, with a bronze statue coming later. I have not, so far, seen any pictures which indicate that in Korçë.

The only information I have about Avni Bilbili is that he is the creator of a monument to Naim Freshëri in Rruga Nëntori 28, in Korçë, in 1956.

Piro Dollaku and Ilia Xhano were joint creators of the magnificent Partisan and Child in Borovë. This sculpture, now beside the main road going through the village, used to be part of the main lapidar for the Borovë Martyr’s Cemetery, on the hill across the road. This was substantially remodeled but their bas-relief is now at the entrance gates to the cemetery.

Behind him are two, low, one-storey, rectangular buildings. The space between them is directly behind the statue. These are locked and it’s not, as far as I know, possible to go inside. As was the norm in Martyrs’ Cemeteries these would have been the small, local museum, displaying artefacts and photos from the National Liberation War.

As you look at the front of the statue the building on the left has the slogan; Lavdi Deshmoreve te Atdheut, which translates as; Glory to the martyrs of the homeland. This was the situation in May 2015. On my previous visit at the end of 2011 there was a ‘t’ at the end of ‘deshmoreve’. Today it’s still possible to see the shadow of the missing letter on the wall. I’ve been told that the ‘t’ is a more archaic grammatical form (although this is the first time I’ve come across this in all the places I’ve visited over the years) so this could be an updating of the term and, if done consciously, would have been part of the recent renovation.

On the wall of the building to the right there are 122 marble plaques. Each plaque has a name and two dates, the year of birth and death. I assume these are the names of those whose tombs are in the cemetery, the number would seem to correspond to that.

Although it’s difficult to get a feel when in the cemetery itself, standing beside the statue which is exactly in the centre, the tombs fan out on either side, somewhat like wings, spreading backwards. However, as part of the renovation an information board has been placed at the bottom of the main approach steps and here there’s a picture taken from the air.

Korca Martyrs’ Cemetery – information

The tombs have also been renovated. New marble replacing many broken slabs and the letters of the names of the Partisans being picked out in gold paint. They now look quite smart and being accorded the dignity they deserve. One thing that’s different from most of the cemeteries I’ve been to is that there are no stars on the tombs. On my 2015 visit I thought this was a consequence of the renovation (this eradication of the stars and the re-writing of history being evident in a number of places, such as the Saranda Martyrs’ Cemetery) but on checking my 2011 photos I find that they were missing then, although at that time I wasn’t that conscious of the norms throughout the country and so wasn’t looking as closely as I have developed of late.

And the whole area of the cemetery itself is much cleaner than a few years ago. There’s a tarmacked road just below the final flight of steps and all above that road has been cleaned up and repaired. The walls have been painted and the steps renewed. Below the road the steps are as they have been for a number of years, overgrown and the concrete breaking up, although there are signs that work was started to improve the area (but not completed) at the very start of the long trek uphill.

Extirpation of idolatry

Many Martyrs’ Cemeteries in Albania are built on hills. It’s a place of honour and also a reference to the fact that much of the fighting between 1939 and 1944 took place in the hills and mountains of the country. The hill in Korçë is close to the town itself and isn’t the highest in the immediate vicinity. Just to the south-east of the cemetery you can see a large, white cross on the top of a higher mountain, close enough to the town to be seen from the streets below.

Korca Martyrs’ Cemetery and white cross

You will see many of these if you travel around the country, normally on high points that can be seen for miles around. This is very reminiscent of the policy of the Catholic Church in many parts of the world. When the Spanish invaded Latin America in the late 15th and early 16th centuries they followed what they called a policy of the ‘extirpation of idolatry’. This resulted in the physical destruction or assimilation of any religious location encountered throughout the continent.

In Peru, where a special rock, tree, spring or any other natural phenomenon could have religious significance, this meant that those natural locations would be destroyed. The later building of a church was seen as sticking a knife into the heart of the indigenous culture. In 1988, just before Karol Wojtyla, the then head of the Catholic Church, was due to visit the country a large, white cross was erected on the hillside above the Andean city of Cusco. It was on this hill that the massive Incan temple of Sacsayhuaman used to be located, before being destroyed by the Spanish. This was a modern version of the ‘extirpation’.

It seems that the Catholic Church is still at it in Albania.

Location:

The cemetery is at the top of a hill to the east of the city centre. Go north along Bulevardi Republika, passing the monument to the demonstration against the Italian Fascists on the right and then turn right along narrow, cobbled Rruga Sotir Mero. At the top of the street go up the steps which take you to a small road, go left and then take the steep steps going up on your right. This is where the information plaque can be found.

GPS:

40.61886496

20.78970904

DMS:

40° 37′ 7.9139” N

20° 47′ 22.9525” E

Altitude:

961.8m

Vojo Kushi, Sadik Stavaleci and Xhorxhi Martini

Posted on 28/12/2015 by Michael

Vojo Kushi – 1969 – Sali Shijaku

More on Albania …..

Vojo Kushi, Sadik Stavaleci and Xhorxhi Martini

The representation of the last military action of Vojo Kushi, Sadik Stavaleci and Xhorxhi Martini in Albanian Socialist realism is an interesting one as it has been depicted in a number of formats so offers a (possibly) unique opportunity to compare how the event has been presented to the Albanian people, history and posterity. Although the sacrifice of the three is commemorated it is Vojo Kushi who is in the forefront of these representations, his last action of storming an Italian tank being an act of bravery that has transcended even the counter-revolution of the 1990s.

The Actors

Vojo Kushi 1918-1942

Vojo Kushi

There’s also much more information available about Vojo. He was born in Vrakë, near Shkodër on August 3rd 1918 from a Serbian minority which was suppressed under ‘King’ Zog, one aspect of whose rule was to ban names with Serbian suffixes. At that time there was no unified Albanian Communist Party and it was in Shkodër where the first Communist revolutionary organisation was established. However, all Communist Parties go through difficult struggles before (and after formation) and it wasn’t until November 8th 1941 that the Communist Party of Albania (later to become the Party of Labour of Albania) was formed in Tirana. Vojo was chosen as a member of the regional committee and also appointed as commander of the local guerilla unit. Apart from other activities he was tasked with the discovery and elimination of traitors and collaborators.

Sadik Stavaleci 1918-1942

Sadik Stavaleci

All I know about Sadik was that he was born in Kosove (considered then and now as part of Albania) and obviously seemed to have joined the partisan/guerrilla movement soon after the Italian invader had entered the country.

Xhorxhi Martini 1921-1942

Xhoxhi Martini

There’s not a lot more I’ve been able to discover about Xhorxhi. He was from Tirana and the youngest of the three People’s Heroes to have died on that day.

The Action

On October 10th, 1942, due to either a mistake on their part or more likely due to the activity of collaborators, spies and traitors (always to be found ready to creep out from under the rocks in any struggle for national liberation) the three found themselves surrounded in the Red Hills district of Tirana. After a 6 hour battle, during which time they were facing up to six Italian tanks, running out of ammunition and wounded, it was at this time, knowing they had nothing to lose, that Vojo Kushi carried out his suicidal attack. Running out of the building he shot a number of soldiers before he jumped up on to the turret of a tank and attempted to throw a grenade into the hatch he was trying to open. So exposed he didn’t last long out in the open.

The Bust

Vojo Kushi – Odhise Paskali

The first piece of art to commemorate the event was put on show to the public in 1949 and is a bust of Vojo Kushi by the sculptor Odhise Paskali (whose other public works include ‘Shoket – Comrades’ at the Martyrs’ Cemetery in Permet). Whether it is in its original location or not I can’t say for sure but it has obviously been kept well and has had a recent coating of gold paint. It also sits on a new pedestal with the words ‘Heroi i Popullit, Vojo Kushi, Tarzani, 1918-1942’ on the plaque. This translates as ‘People’s Hero, Vojo Kushi, Tarzan, 1918-1942’.

This is a classic bust of the time, a head and (cut off) shoulders view of a man in his early twenties. His head is held high, he’s confident and looks into the distance/future. What is very distinctive about Paskali’s representation, and I’m not sure where he picked it up, is the very pronounced quiff, that extends over his forehead like the peak of a cap. This is not particularly the image you would get from the two photos I’ve seen of Vojo but this style has been picked up by other artists, particularly the (unknown) sculptor of the bas-relief a few streets away.

If the bust is the original the plaque certainly is not. Placing the word ‘Tarzan’ in the description acts to take away the politics of the whole episode. There is an increasing move to ‘renovate’ lapidars and other monuments throughout Albania but in certain places there is a definite agenda of de-politicisation being followed. What this agenda seeks to demonstrate is that these individuals were patriots fighting for the liberation of the country from the foreign invader. The fact that during the National Liberation War the invader was the Fascist, first the Italian and then the German, is conveniently forgotten as, in the forefront of that struggle, was the Communist Partisan Army. In Albania today many don’t say ‘forget the war’ they say ‘forget who led the country to victory’. By putting that simple word ‘Tarzan’ on the statue they seek to infantilise, fictionalise and mythologise into insignificance the actions of those Communists who refused to surrender.

There’s a sense of irony in the present location of the statue. Vojo has his back to a Euro Lloto pop-up store. Here Albanians can gamble on an infinite variety of events in sporting fixtures, a quick way for most (the off the street punters) to become poor and an equally quick way for others (the shop owners, either in Albania or elsewhere) to get rich. Considering that in the 1990s many hundreds of thousands of Albanians were cheated out of their personal wealth and privatised land through criminal Pyramid Schemes its interesting that so many still see their future through touching the big one – such places are all over the country.

Vojo Kushi amongst the debris

(In June 2019 I came across the image above on the Albanian Lapidar Survey tumblr blog. Don’t know exactly when it was taken but assume quite recently. What’s being demolished is a cheap and nasty betting shop come gambling den. There were a lot of them around a few years ago. Whether the demolition is due to a political decision or just one of new buildings wanting to take the space I don’t, as yet, know. What is certain is that it is unlikely to have any effect upon the Albanian desire to ‘get rich quick’. They haven’t learnt from the pyramid/Ponzi schemes that robbed so many ordinary Albanians of the little they had in the early 1990s.

When I last saw the bust it was in a good condition – but it looks slightly neglected in this picture. The bulldozer is evidently attempting to miss it but that doesn’t mean it never got damaged in this exercise. It should be valued as a work of art even by the present government and political establishment in Albania. The Peoples’ Heroes and Heroines are still, in the main, respected and this is also the work of one of Albania’s most renowned (internationally) sculptors – Odhise Paskali. I’ll try to remember to check its fate when next in Tirana.)

Location:

Rruga e Dibrës, just south of Sheshi Selvia

GPS:

41.33278

19.82270

DMS:

41° 19′ 58.0080” N

19° 49′ 21.7200” E

Altitude:

127m

The Paintings

Vojo Kushi – Zef Shoshi

There are, at least, a couple of paintings of Vojo Kushi. One is a simple full length portrait by Zef Shoshi. I don’t know the exact date it was painted nor where it might be at the moment, I’ve never personally seen it on display. Here he is placed in an urban environment, presumably somewhere in Tirana. This is a simple, figurative painting, showing a young man, with a determined expression on his face, looking out of the picture, into the future. The impression of determination, and anger, is reinforced by his clenched fists, his arms hanging down at his side. In this painting he looks very different from the other representations of him in Tirana. Here art is used as a record of someone who died fighting for his country.

The other, more famous, on permanent display in the National Art Gallery in Tirana, is a different affair. This was painted by Sali Shijaku in 1969 and is a huge painting, measuring 200 x 300cm. It depicts a recognizable Vojo Kushi performing his final act of heroism for which he is well-known, that is, just about to throw a grenade into the hatch of an Italian tank (depicted at the top of the post).

Discussing this painting is where the understanding of Albanian Socialist Realism becomes more complex. The painting follows the conventions of political art: it represents an event that actually took place; the individual is recognizable; it serves to commemorate and celebrate an heroic act, a sacrifice, that occurred during the National Liberation War; it seeks to inspire the viewer (especially the young); it declares that the act was committed by a Communist; and it tells the history of the Albanian people.

But, and this is a big but, it is fantastical. Most of the painting is quite dark, a good half of the background and the tank itself (which is in the bottom foreground). There are white flashes in the background indicating either fire or smoke, giving the impression that this is in mid-battle.

It is when we get to Vojo himself that things become strange. For some reason he has lost his shirt and is bare from the waist up, apart from what looks like a cape, fluttering out behind his left shoulder. This cape is red and either represents the red flag of Communism or the Albanian Partisan flag (although it’s not possible to make out the black, double-headed eagle). This flag/cape isn’t attached to his body in any way, one corner just resting over his raised right arm.

His left hand grips the edge of the hatch lid, giving the impression he has just wrenched it open and in his raised right hand is a grenade, ready to throw it inside the tank. The image and what he is attempting is OK but why is he dressed in such a way? Not only is he bare-chested he is also bare-footed, his right foot on the barrel of the tank’s gun, his other foot out of sight as he straddles the turret. The other aspect that is strange is the lighting. A shaft of light comes from some unidentified source at the lower right of the painting, illuminating his upper torso and thus separating him from the dark background.

I think all these devices cause to separate Vojo from the ordinary man and woman. When you look at the picture you get the impression that he has flown there like some sort of superman (the red cape adding to the image of the character in the American Marvel comics). The lack of even a shirt or shoes indicates that nothing can harm him, that he is impervious to the bullets of the enemy. But he wasn’t. If this picture depicts anything at all it’s the last moments of a partisan willing to give his life for the cause of freedom from fascism. The way the light shines on his face is reminiscent of some Christian religious paintings and the cape, as it gives a backdrop to his head, resembles a halo (a common artistic device that Christian painters stole from the Roman Empire – amongst many other tropes).

As I’ve written before, until workers are able to freely develop a manner in which to represent themselves, free from the influences of the past, such an interpretation will always be possible.

However, it was obviously a favoured painting in the past, it being chosen to be one of the paintings that were depicted on Albanian postage stamps (although the reds are always much brighter in printed sources than the original).

Vojo Kushi – postage stamp

The Monument

To the best of my knowledge the monument to the action on October 10th, 1942 is located close to where things actually happened, although building development in recent years has meant that it’s now slightly hidden away on a quiet street corner.

Vojo Kushi Lapidar

It’s a relatively small lapidar following a typical design. There’s a concrete base which has a column just over two metres tall on the right hand side. The concrete is covered with marble slabs – but these have fallen away in a few places. Half way up the lapidar is a marble plaque (which looks original) which bears the words:

Herojte e Popullit – meaning People’s Heroes

Vojo Kushi

Sadik Stavaleci

Xhorxhi Martini

Above the words there’s a star and this star, and the letters, are picked out in gold. There’s a little bit of vandalism on this plaque, a felt tip pen has been used to fill in the star and there’s a tiny figure of a man between the words Vojo and Kushi.

To the left of the column a bronze bas-relief is attached to a concrete panel. This is just over a metre high and just over two metres long. On it is depicted a version of the attack on the tank seen already in the painting by Shijaku.

However, the dynamism of the relief is different. Vojo is virtually sitting on the barrel of the tank’s gun which is pointing to the left. Vojo’s left hand is stretched out fully in front of him and is gripping the closed edge of the turret hatch. In his right hand, which is fully stretched out behind him, is a grenade. He is keeping his profile low, as it would have made sense in reality, offering a smaller target to the enemy.

There’s a repetition of the image in the Shijaku painting as although not completely bare-chested he is only wearing a ripped shirt, which is in tatters, but which also flutters out behind him, creating the image of a flag or a banner.

Although the face is in profile it’s quite recognizable from images of Vojo. However, things are slightly strange when we look at the very top of his head where it, and his hair, extend above the main body of the bas-relief over the top of the concrete. This produces a three-dimensional effect on that small part of the sculpture. This also includes a huge quiff, even more exaggerated than that on the Paskali bust on Rruga e Dibrës.

The sculpture is in a reasonable condition, not seeming to have suffered from any malicious vandalism but merely suffering from lack of care, as are many lapidars throughout the country.