Political Vandalism and ‘The Albanians’ Mosaic in Tirana

Posted on 04/09/2019 by Michael

‘The Albanians’ Mosiac at the National Historical Museum, Tirana

Political Vandalism and ‘The Albanians’ Mosaic in Tirana

The wonderful and impressive ‘The Albanians’ Mosaic, which has looked down on Skenderbeu Square, in the centre of Tirana, from above the entrance of the National Historical Museum since 1982, is starting to show it’s age. Less it’s age, in fact, but really the signs of intentional neglect which is tantamount to an act of political vandalism.

The last time it was really ‘cared for’ was when one of the original artists involved in the construction of the mosaic (Agim Nebiu) used his skills and ‘expertise’ to attempt to depoliticise the work of Socialist Realist Art. At that time (which I still can’t say exactly when) the large, gold rimmed, five pointed red star which used to exist behind the head of the principal female character, at the centre of the mosaic, was removed. Also taken out was the smaller, gold-outlined star that sat above the heads of the double-headed eagle, the only difference between the flag of the present, capitalist state of Albania and the flag of the People’s Socialist Republic of Albania.

Also removed – for me inexplicably – was the book that the male, to her right, clutches closely to his chest with his right arm. Although it would have been impossible to have seen so from street level, this would probably have been one of the books of Enver Hoxha, leader of the government and the Albanian Party of Labour from the first days after liberation to his death in 1985. (Another mosaic, this time in Bestrove, has an image of a child carrying a book of Enver Hoxha‘s works closely to her chest.)

Nebiu did a ‘good job’ – it’s very difficult to realise the original from what exists now, apart from a few areas where the colours don’t exactly match, and those unaware of the original will notice nothing. For his efforts he got his thirty pieces of silver. And people wonder why intellectuals were sent to the camps in Siberia.

The mosaic was also covered for some time at the end of 2012, just before the centenary of national liberation from the Ottoman Empire. But if any remedial work was carried out then it was very slip shod and almost immediately the mosaic showed increasing signs of decay.

One of the most obviouslt damaged areas

And that decay continues. At an ever increasing pace.

Places were the ceramic tiles have fallen away have been obvious to the naked eye for some time and the iron framework upon which the whole structure rests has also started to poke its rusty face through the imagery. However, the majority of the decay wasn’t really encroaching on the actual figures in the picture. That’s different now as damage can be seen to the figures and their dress, especially in the lower third of the art work.

The iron framework shows through

And that’s not a surprise. It receives no shade whatsoever from the blazing summer sun and for many of the summer months at the heat of the day the tiles would almost certainly be too hot to touch. Come the winter months temperatures below zero would be normal, especially at night, when ice crystals would form behind the tiles and force them away from the framework to which they are attached.

This alternating between extremes of temperature would have existed in the eight years of the mosaic’s existence before the fall of the socialist system in 1990 but efforts would have been made to keep matters of dis-repair under control. Also it would have been relatively new in the 80s and assuming care had been taken in its construction then it would have been able to withstand such variations in climate.

Cracks in Socialism and Albania marching forward

Although in the last couple of years a huge amount of money has been spent on renovating the immediate area – and it must be admitted that (at least at present) the new look, pedestrianised and car free Skenderbeu Square is a joy to walk through. But not a lek has been spent on the mosaic.

Damage appearing the length of the monument

This must be intentional. The cowardly aim of the politicians, of whatever hue, to let the mosaic fall down – so as to avoid the accusation of artistic and cultural vandalism. If a sizeable chunk of stone was to fall and kill a foreign tourist as s/he was entering or leaving the museum all the better. Blame could then be apportioned on those who came up with the project in the first place – both the actual artists involved and the system of Socialism itself.

Unless there’s a radical change in attitude – which is highly unlikely – I doubt whether tourists to Albania will be able to enjoy and appreciate this unique example of Socialist Realist art on a visit to Tirana for many more years into the future.

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Sculptors and Architects of Albanian Lapidars

Posted on 14/07/2019 by Michael

Albanian Socialist Sculptors

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Sculptors and Architects of Albanian Lapidars

‘Signatures’ of the artists weren’t always added to the sculptures associated with Albanian Lapidars before the middle of the 1980s. All the information about the structures would have been held in the offices of the Albanian League of Writers and Artists, as well as in the National Archives – but they might not be that accessible in the present post-Communist environment.

So the information below might be patchy but as I accumulate more I will attempt to create as full a picture as possible of the artists involved in the nationwide project.

The list is primarily one of sculptors, unless stated otherwise, in alphabetical order.

Albanian Lapidar Survey

Description and photos of the Lapidars (Monuments), statues, bas reliefs and mosaics

H Beqiri

ALS 324 – Lapidar dedicated to the delivery of the land deeds – Gorrë

L Berhami

ALS 34 – Martyrs’ Cemetery – Librazhd, with M Turkeshi

Avni Bilbili

ALS 121 – Korca Martyrs’ Cemetery

Maksim Bushi (1948-present)

ALS 194 – Martyrs’ Cemetery – Lushnjë (1984)

Perikli Çuli

ALS 38 – Monument to the First Attack Brigade – Pishkash (1978), with Agim Rada

ALS 195 – Our Land – Lushnjë (1987)

ALS 476 – Lapidar dedicated to the wars of Skanderbeg – Kaninë (1968)

Piro Dollaku

ALS 121 – Martyrs’ Cemetery – Korça, with Ilia Xhano

ALS 262 – First bas relief – Martyrs’ Cemetery – Borovë, with Ilia Xhano

ALS 263 – Partisan and Child – Borovë, with Ilia Xhano

Muntaz Dhrami

ALS 12 – Mother Albania – National Martyrs’ Cemetery – Tirana (1972), with Shaban Hadëri and Kristaq Rama

ALS 13 – Monument to the Artillery – Sauk – (1968), with Shaban Hadëri and Kristaq Rama

ALS 17 – Monument to Heroic Peze – Pezë e Vogël – (1977), with Kristo Krisiko

ALS 19 – Monument to the 22nd Brigade – Pezë e Madhe, with Kristo Krisiko

ALS 20 – Long Live the Fallen of Peze – Pezë e Madhe (1977), with Kristo Krisiko and Nina Mitrogjorgi (architect)

ALS 147 – Long Live the First Brigade – Makërzë (1969), with Shaban Hadëri and Kristaq Rama

ALS 192 – Bust of Shkurte Pal Vates – Dushk (1968) (destroyed)

Shkurte Pal Vata by Muntaz Dhrami

ALS 395 – Obelisk to the Albanian Language – Gjirokastra, with Ksenofon Kostaqi and Stefan Papamihali

ALS 438 – Drashovice Arch 1920-1943 – Drashovice

ALS 460 – Independence Monument – Vlora – (1972), with Shaban Hadëri and Kristaq Rama

ALS 464 – 1920 – Memorial to the events of 1920 (1970), with Shaban Hadëri and Kristaq Rama

ALS 510 – Priske Monument – Priske e Madhe (1978), with Sofokli Koci

‘Keep high the revolutionary spirit’ (bronze) 1966.

You can get an idea of Dhrami’s work, both during the period of Socialist construction and in subsequent years by taking a look at Muntaz Dhrami – Sculpture over the years 1956-2011. It’s also possible to see here that once Dhrami is ‘released’ from the ‘confines’ of figurative art he rapidly drifts into abstraction and displays elements of despair which dominates bourgeois art in capitalist countries. Whether his work progressed after 1990 is debatable.

Q Dono

ALS 307 – Martyrs’ Cemetery – Fier, with GJ Toska

Hector Dule

ALS 10 – On the paths of war – Tirana

ALS 166 – Monument to Resistance – Durrës, with Fuat Dushku

ALS 394 – Monument to Skenderbeu’s Wars – Gjirokastra (1968)

ALS 504 – Monument to Mushqeta – Bërzhitë – (1969), with K Miho (architect)

‘The pick in one hand and the rifle in the other’ (bronze statue) 1966. Last seen at the back of the National Art Gallery in Tirana.

Pickaxe in one hand and a rifle in the other

Fuat Dushka (1934-2007)

ALS 166 – Monument to Resistance – Durrës, with Hector Dule

ALS 675 – Bas relief and statue of Bajam Curri– Bajam Curri

Four Heroines of Mirdita, Rreshen

‘Four Heroines of Mirdita’ (bronze) 1971. It was purposely destroyed by reactionary political forces in Mirdita. This was one of the very first large and complex statues made during the Albanian Socialist Cultural Revolution and was a challenge for the sculptor and foundry workers. With Dh. Gogollari, Perikli Çuli, Andrea Mano and architects S Mosko and B Ferra.

‘Metalworker’ (bronze),1979, statue in National Art Gallery, Tirana

Shaban Hadëri

ALS 12 – Mother Albania – National Martyrs’ Cemetery – Tirana (1972), with Muntaz Dhrami and Kristaq Rama

ALS 13 – Monument to the Artillery – Sauk – (1968), with Muntaz Dhrami and Kristaq Rama

ALS 147 – Long Live the First Brigade – Makërzë (1969), with Muntaz Dhrami and Kristaq Rama

ALS 460 – Independence Monument – Vlora – (1972), with Muntaz Dhrami and Kristaq Rama

ALS 464 – 1920 – Memorial to the events of 1920 (1970), with Muntaz Dhrami and Kristaq Rama

ALS 675 – Monument to the 5 Heroes of Vig – Shkodër (1969 – the original in plaster)

U Hajdari

ALS 86 – Monument to the Provocations of 2nd August 1949 – Bilisht (1969), with J Paço

Possibly Mother Albania expelling the priest and military in Gjirokastra

Sofokli Koci

ALS 510 – Priske Monumental Lapidar – Priskë e Madhe (1978), with Mumtaz Dhrami

Kristina Koljaca

Statue of VI Lenin in National Art Gallery ‘Sculpture Park’

Ksenofon Kostaqi

ALS 395 – Obelisk to the Albanian Language – Gjirokastra, with Muntaz Dhrami and Stefan Papamihali

ALS 407 – Monument to the Border Forces – Kakavijë, with Stefan Papamihali

Traditional Musicians and Dancers – Gjirokastra (1983), Kristo Krisiko

ALS 17 – Monument to Heroic Peze – Pezë e Vogël – (1977), with Muntaz Dhrami

ALS 19 – Monument to the 22nd Brigade – Pezë e Madhe, with Muntaz Dhrami

ALS 20 – Long Live the Fallen of Peze – Pezë e Madhe (1977), with Muntaz Dhrami and Nina Mitrojorgji (Architect)

R Kote (architect)

ALS 147 – Long Live the First Brigade – Makërzë (1969), with Muntaz Dhrami and Kristaq Rama

S Kraja

ALS 583 – Monument to the 1911 Uprisings – Hani i Hotit (1971), with H Kruja

H Kruja

ALS 580 – Bust of the Peoples’ Hero Vasil Shanto – Vrakë (1971)

ALS 583 – Monument to the 1911 Uprisings – Hani i Hotit (1971), with S Kraja

Andrea Mano (1919-2000)

ALS 1 – Monument to the Partisan – Tirana

‘The Chinese Peasant’, 1965, bronze head and shoulders in the National Art Gallery, Tirana

The large ‘Skenderberg’ statue (bronze), 1968, in Tirana main square, in collaboration with Odise Paskali and Janaq Paco

Skenderberg – Skenderbeu Square, Tirana

Todi Mato

ALS 49 – Sculpture at the Martyrs’ Cemetery – Pogradec

K Miho (architect)

ALS 504 – Monument to Mushqeta – Bërzhitë – (1969), with Hector Dule

Taqo Miho

ALS 9 – Monument to the anti-Fascist Group DEBATIK (1988), Nina Mitrojorgji (Architect)

ALS 20 – Long Live the Fallen of Peze – Pezë e Madhe (1977), with Kristo Krisiko and Muntaz Dhrami

Nina Mitrojorgji (architect)

ALS 20 – Peze War Memorial, at the Peze Conference Memorial Park. With sculptors Mumtaz Dhrami and Kristo Krisiko (1977).

Janaq Paço (1914-1991)

ALS 86 – Monument to the Provocations of 2nd August 1949 – Bilisht (1969), with U Hajdari

The large ‘Skenderberg’ statue (bronze), 1968, in Tirana main square, in collaboration with Odise Paskali and Andrea Mano.

Skenderberg – Skenderbeu Square, Tirana

The bronze head of a girl, 1966, in the National Art Gallery, Tirana.

Girl (bronze) – Janaq Paço

Also, what was at the time, a controversial ‘Nude’ (bronze), 1963, in the National Art Gallery, Tirana. It was purchased 5th May 1964, and until 1974 was a full, seated nude. Paço was ordered to destroy all of his nudes as his word was ‘manifesting foreign influences and banned ideology’. What is in the gallery now is all that remains.

Nude – Janaq Paço – 1963

Stefan Papamihali

ALS 395 – Obelisk to the Albanian Language – Gjirokastra, with Kristo Krisiko and Muntaz Dhrami

ALS 398 – Partisan – Gjirokastra

ALS 407 – Monument to the Border Forces – Kakavijë, with Ksenofon Kostaqi

Odhise Paskali (1903-1985)

ALS 123 – Nationalist Fighter – Korça (1937)

ALS 244 – Comrades – Martyrs’ Cemetery – Përmet (1964)

ALS 246 – Monument dedicated to the creation of peoples’ power – Përmet (1964)

ALS 276 – Monument to the Martyr of Kolonje – Ersekë (1938)

ALS 590 – Monument dedicated to the Assembly of Lezha – Lezha (1968)

Bust to Vojo Kushi in Tirana

The statue of Cerciz Topulli (1932, bronze) which stands in the square that bears his name in Gjirokaster Old Town.

The large ‘Skenderberg’ statue (bronze), 1968, in Tirana main square, in collaboration with Janaq Paço and Andrea Mano.

Skenderberg – Skanderbeu Square, Tirana

The bust of ‘The Two Heroines‘ – being two young women, Bule Naipi and Persefoni Kokëdhima, who were publicly executed for their Partisan activity in 1944 in Gjirokastra.

The Two Heroines – Odhise Paskali

He also created ‘The Triumphant Partisan’ (1968). This depicts a Nazi soldier being forced to the ground by an Albanian Communist Partisan. The original is at the Mauthausan Concentration Camp in Austria – where many Albanians were taken if captured – but there’s a copy in the Castle Museum in Gjirokastra.

The Triumphant Partisan – Gjirokastra

Agim Rada

ALS 38 – Monument to the First Attack Brigade – Pishkash (1978), with Perikli Çuli

Kristaq Rama (1932-1998)

Biographical Note: Born in Durrës. Father of Edi Rama (also trained as an artist), who was first Mayor of Tirana and then leader of the Socialist Party and Prime Minister from 2013 to the present.

ALS 12 – Mother Albania – National Martyrs’ Cemetery – Tirana (1972), with Shaban Hadëri and Muntaz Dhrami

ALS 13 – Monument to the Artillery – Sauk – (1968), with Shaban Hadëri and Muntaz Dhrami

ALS 141 – Monument to Communist Guerrillas – Korça

ALS 147 – Long Live the First Brigade – Makërzë (1969), with Shaban Hadëri and Muntaz Dhrami, with R Kote (architect)

ALS 167 – Ulqinaku Mujo – Durrës

ALS 327 – Monument to Agrarian Reform – Krutje e Sipërme (1966)

ALS 460 – Independence Monument – Vlora – (1972), with Shaban Hadëri and Muntaz Dhrami

ALS 464 – 1920 – Memorial to the events of 1920 (1970), with Shaban Hadëri and Muntaz Dhrami

ALS 547 – Martyrs’ Cemetery – Bajram Curri (Kushtrimtari)

ALS 554 – Bust of the Peoples’ Heroine Qerime Shota Galicia – Kukës (1968)

Relief on Government Building, ‘Family’, 1974, concrete, Tirana.

The bronze sculpture of a worker (Republic’s Contemporary), 1964, in the National Art Gallery, Tirana.

Republic’s Contemporary 1964 – Kristaq Rama

Kristo Sitiris (1870-1953) (architect)

ALS 168 – Durrës War Memorial mosaic. Artists Nikolet Vasia, Gavril Priftuli and F SH.

Thoma Thomai

ALS 245 – Monument to Sixth Brigade – Përmet

ALS 260 – Grenade Ambush – Barmash

ALS 262 – Martyrs’ Cemetery – Borovë

ALS 594 – Monument dedicated to the wars of Skanderbeg or The Battle of Zidolli Obelisk (April 24, 1467) – Fushë Krujë (1968) – reconstructed in 2012 by the architect Enea Papa

27th May 1941 – Execution of Vasil Laçi for the failed assassination attempt on Victor Emanuel III of Italy in 1941

GJ Toska

ALS 307 – Martyrs’ Cemetery – Fier, with Q Dono

M Turkeshi

ALS 34 – Martyrs’ Cemetery – Librazhd, with L Berhami

Ilia Xhano

ALS 121 – Martyrs’ Cemetery – Korça, with Piro Dollaku

ALS 262 – First bas relief – Martyrs’ Cemetery – Borovë, with Piro Dollaku

ALS 263 – Partisan and Child – Borovë, with Piro Dollaku

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Resistance – Monument to the struggle against Fascist invasion in Durres

Posted on 14/09/2017 by Michael

Resistance – Durres

Resistance – Monument to the struggle against Fascist invasion in Durres

Being the main port of invasion by the Italian Fascists on 7th April 1939 it’s not a surprise that in commemoration of that event, and especially the resistance that was shown by a significant proportion of the population (but not the self-proclaimed ‘King’ Zog who ran away as soon as the Italian ships came into sight) that there are a few monuments to this, constructed in the Socialist period. One is to the individual sacrifice of Mujo Ulqinaku (that used to stand close by the Venetian tower at the bottom end of town) and the other is to the general principle of ‘Resistance’ in Durrës, which is located right next to the waterfront and very likely one of the places the Italian fascists would have landed.

But in 2017 the population of Durrës doesn’t have much respect for Resistance to any foreign invasion. In fact the more foreign goods, foreign fast food and foreign culture they can access the better. In some senses more of a necessity than a wish as they have overseen the wholesale destruction of any industry which might provide them with the basic necessities of life. And, of course, how can anyone possibly survive without the internationally recognised destroyer of teeth and promoter of obesity, the obnoxious fluid sold under the name of Coca Cola?

But back to a time when Albanians had dignity, knew what true independence was and embodied the principles of resistance in their daily lives.

When a monument ceases to have relevance then it no longer gets treated with respect and that has been the fate of this lapidar – as well as with many others throughout the country. Apart from physical damage to some of the elements of the structure it is a constant victim of graffiti attack, the mindless, illiterate scribblings of those with nothing meaningful to say but say it anyway. At least political graffiti would demonstrate some form of human thought.

‘Resistance’ has architectural elements as well as sculptural.

You approach the monument via a few very low, but very wide steps. You are then in a circular space with a series of eleven columns on your right which rise to a height of about 3 metres and on that highest column stands the personification of ‘Resistance’ in the form of a Partisan fighter. Radiating out at 90 degrees to these columns, gradually coming down to ground level even as each of the columns gets higher is a feathering effect. This effect is also produced on the left hand side as you look at the statue but here the feathering is much lower to start with and much wider as well.

If you can imagine the furled wing of a bird you might understand the impression the architect is attempting to re-create. For this is a symbolic reference to the eagle, the double-headed version of which is, and has been for a few centuries now, the national emblem of Albania. This device has been used in the most recent development of the Martyrs’ Cemetery in Borove, just to the south of Ersekë, and for the construction of (the now derelict) mausoleum and museum to Enver Hoxha in Tirana.

The problem with this idea is that it is very difficult to appreciate the idea from ground level. It might well be more evident from an aerial view but that is not possible for the vast majority of onlookers. So in Durrës (as in Borove and Tirana) you have to use a little bit of imagination.

On the facade of four of theses columns, facing the inner circle, are images which tell a little bit of the history of Durrës and Albanian Resistance.

Resistance to the Romans

On the 7th from the right we have the ancient, Greco-Romano history of the town. Carved into the stone is a circular, Roman shield and surrounding it the weapons that would have been used at the time: a short sword, an axe and a number of different types of spears, together with a helmet with a crest.

Resistance to the Ottomans

On the 8th one in we are brought a little closer up to date. This is the time of the nationalist ‘hero’ Skenderbeu. We know that as the large shield towards the right has a double-headed eagle design (it was from the time of Skenderbeu that this symbol was adopted as a sign of Resistance to any foreign invader). This was in the 15th century. Here we have the weapons in use in warfare from that period: a long, broadsword, possibly arrows, spears and the curved blade, long poled axe that was used to hack away at the enemy. Examples of these can be seen in the National Historical Museum in Tirana.

The third lesson in history is on the next column, the ninth and this brings us up to the 20th century. At the bottom there’s a symbolic reference to the waves on the sea. This references Durrës as this image is part of the town’s coat of arms. Curving from the top left to the centre is an ammunition belt – eight clips with five bullets apiece. On the right hand side, taking up the whole height of the panel, is a rifle.

Resistance to Italian Fascism

The top end of the barrels of a couple of rifles peek out from behind the ammunition belt on the left hand side. This modern weaponry frames an axe, a pickaxe and a couple of pitchforks. This, to me covers a couple of inter-related periods. It makes reference to the war for National Liberation (which took place between 1939 and 1944) and also to the construction of Socialism where the use of arms would be necessary to defend the revolution from attack, both from within and without.

The final symbol, which is on the facade of the column upon which the Partisan statue stands, is a large, black metal plaque of a double-headed eagle. Unlike the one on the shield of the Skenderbeu era this one has a star above the two heads. This is the star of Communism which was added to the national symbol from 1944 to 1990. This star, whether it was red originally or not I don’t know, is missing, whether as a result of political vandalism, opportunist souvenir hunting or by someone to care for it so that it can be returned in a future Socialist Albania.

The statue itself embodies many of the attributes seen on a number of lapidars throughout the country. The figure itself is rushing forward, weapon at the ready, but he is also looking backwards calling upon others, out of sight to come and join the fight. This is depicted elsewhere on Albanian lapidars such as the monumental Arch of Drashovicë and the statue of Mujo Ulqinaku in Durrës itself – but exact location unknown at this moment.

But there’s much more dynamism, more urgency here. He cannot stretch his legs any further, he gives the impression of needing to rush to the front, to engage the enemy. When there’s an invasion there’s no time to consider the options. Only those who are prepared to live under a foreign yoke, the future collaborators, the sycophants and cowards, will hesitate, ‘weigh up the options’ and then capitulate. This fighter, this Communist, this patriot does not hesitate.

He doesn’t wear a uniform as such as at the time of the Italian invasion in 1939 the so-called Royal Albanian Army was so much in a collaborative role with the Italians that official resistance melted away. It was up to a few individual soldiers, such as Mujo Ulqinaku, or armed civilians to resist the invasion. Although they were far too outnumbered in 1939 to succeed in preventing the country from being occupied the action of workers such as those at the tobacco factory and the growing number of those who joined the Partisans in the subsequent five years meant that the country was finally liberated at the end of November 1944.

He’s bare-chested and it looks like his shirt has been torn off his body and it hangs in shreds, flowing behind him as he rushes forwards. In general there’s nothing to distinguish him from any other national hero, racing to take on the enemy but there’s one little, unique indication that this is an Albanian patriot.

‘Opinga’ bag

Hanging from a thin leather strap, that goes around his neck and rests against his left thigh, is a small bag. It looks very much like an opinga (the traditional leather shoe) with decoration on its facing and edges. I’ve not seen this elsewhere and can only think that when modern dress became more common, especially in a city like Durrës where more people would have been involved in manufacturing industry or dock related activities, these reminders and remainders of the past would have taken on a secondary role.

The official name of the monument is:

“Monumenti i Rezistencës.”

Which translates as:

‘Resistance Monument.’

Which was ‘dedicated to the armed struggle of the Albanian people against the fascist occupation of Italy on April 7, 1939.’

This lapidar is the combined work of Hektor Dule and Fuat Dushku (1930-2002) but I don’t know which of them (if either) was the originator of the architectural aspect of the monument. Dule also created the Mushqete Monument at Berzhite and the bas-relief to Skenderbeu in Gjirokaster. Dushku was one of the sculptors who worked on the ‘Four Heroines of Mirdita’ that was created in 1971 and used to stand in Rrëshen. That was criminally destroyed by the local reactionary so-called ‘democrats’.

Signatures

This is quite a late lapidar as, according to the inscription under the right foot of the fighter, the statue was created in 1989. This inscription is also quite unusual. It has the names of the two sculptors, H[ector] Dule and F[uat] Dushku and then the letters QRVA followed by the number 89 (for the year 1989). QVRA stands for Qendra e Realizimit te Veprave te Artit, translating to Art Work Realization Centre. This is the name of the (State) foundry in Tirana where virtually all the lapidars in the country, from the late 60s to the end of the 80s, were forged. It’s also the place where many of those that were torn down in the 90s were melted down to construct some of the monstrosities that is contemporary, capitalist Albanian sculpture. This foundry at one time employed 40 people, more or less, full time. That went down to just 5 a few years ago and then was torn down to make way for expensive, luxury flats.

This is the first time I’ve seen these initials on a lapidar (but not the last, the large statue of the Partisan and child in Lushnjë Martyrs’ Cemetery and the bas relief outside the vandalised museum in Bajram Curri being two other, late Socialist period examples). In the post on Liri Gero and the 68 Girls of Fier I made a bit of a digression discussing the idea of the artists NOT putting their names on their work. This did not mean that their work was not appreciated or respected but the artist was only one cog in the machine. The finished work of art was the culmination of the work of many and if one name should be on it why not all the others?

It was only when that principle was being challenged, especially after the death of Enver Hoxha in 1985, that the sculptors’ names started to appear on the finished work. And here, in addition, we have the place it was made. This no more or less than branding. If they had been able to continue making such statues they would have been stamping the © (copyright) sign on the base.

They didn’t realise that the more they adopted capitalist methods the shorter would be their future. Such foundries, workshops only exist in the capitalist countries with the patronage of the rich – just as it was in the Renaissance. There aren’t many of those in Albania and so the foundry died. I don’t have much sympathy for those with such myopia – whether they be foundry workers or sculptors.

Condition:

As can be seen from the pictures the plinth and the surrounds are uncared for and there’s various graffiti on the columns. The columns provide steps for children to climb and they often do. However, the statue itself seems to be untouched by the vandalism and is in a good condition.

Location:

In the park beside the water, in the older part of town, beside Rruga Taulantia, and a hundred metres or so west of the Venetian Tower (and the original location of the monument to Mujo Qlqinaku).

GPS:

N41.30936204

E19.44467501

DMS:

N41º 18′ 33.70”

E19º 26′ 40.83”

Altitude:

1.7m

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