Mayakovsky in Kutaisi, Georgia

Posted on 13/01/2020 by Michael

Mayakovsky – Kakabadze Art Gallery

Mayakovsky in Kutaisi, Georgia

Vladimir Mayakovsky, was born in Baghdati, about 15 kms south of the city of Kutaisi, in western Georgia, on 19th July 1893. Described by Joseph Stalin, in 1935, as

‘the best and the most talented poet of our Soviet epoch’

he also criticised the Soviet intellectual establishment of ignoring Mayakovsky’s achievements after his death on 14th April 1930 adding

‘indifference to his cultural heritage amounts to a crime’.

Mayakovsky and Marxism

Mayakovsky got involved in the growing revolutionary movement in Russia soon after moving to Moscow in 1906 and during that time developed a passion for the works of Marxism.

‘Never cared for fiction. For me it was philosophy, Hegel, natural sciences, but first and foremost, Marxism. There’d be no higher art for me than ‘The Preface’ by Marx,’

he wrote in his autobiography ‘I, Myself’.

And when he is writing about ‘The Preface’ he means that to Marx’s 1859 book ‘A Contribution to the Critique of Political Economy’. But not all the preface, there’s one section that is almost hidden amongst some dry text which springs out at the reader as a work of poetry, beautifully constructed, with complex ideas but expressed in a clear and concise manner. It’s no wonder that, as an aspiring poet when he first read those words, they made such an impact upon the young Mayakovsky.

Mayakovsky and Russian Futurism

But for a number of years prior to the October Revolution he bounced around and, as he also wrote in his biography;

‘Revolution and poetry got entangled in my head and became one.’

In this period he was very much involved in the Russian Futurist movement, one of the avant-garde movements that developed in the early 20th century, which rejected the past and praised industry, technology, city living and speed.

Mayakovsky as a Socialist Propagandist

Immediately after the end of what became known as World War One 14 imperialist nations (who had been knocking hell out of each other for four years) invaded the young revolutionary Russia to assist the White reactionaries forces. Since the October Revolution they had been inflicting death and destruction in the Red (pro-Soviet) areas murdering anyone who had the temerity to stand up against exploitation and oppression. In this environment Mayakovsky threw his knowledge and skills into producing revolutionary propaganda to instil in Russian workers and peasants the determination to resist the re-establishment of the old order.

Ukrainians and Russians have a Common War Crime – Pan will not be the master of the worker

‘Art must be everywhere – on the streets, in trams, in factories, in workshops, in workers’ apartments’,

he stated and estimated he had created about 3,000 posters during the Civil War.

Mayakovsky and Lenin

Mayakovsky was a life long admirer of VI Lenin, the great Marxist and leader of the revolutionary Bolshevik Party. He showed his respect for the Lenin by producing a 3,000 line epic poem, called ‘Vladimir Ilyich Lenin’ which was published in October 1924, nine months after Lenin had died on 21st January of that year.

The dual language version of the poem published by Progress Publishers, Moscow, in 1970.

Mayakovsky admired Lenin but such respect wasn’t always reciprocated.

On May 6th, 1921 Lenin wrote to AV Lunarcharsky (People’s Commissar for Education from 1917 to 1929);

‘Aren’t you ashamed to vote for printing 5,000 copies of Mayakovsky’s “150,000,000”? It is nonsense, stupidity, double-dyed stupidity and affectation. I believe such things should be published one in ten, and not more than 1,500 copies, for libraries and cranks. As for Lunacharsky, he should be flogged for his futurism.’

VI Lenin Collected Works, Volume 45, p138

However, on March 6th, 1922 Lenin said in a speech to the Communist Group at the All-Russia Congress of Metalworkers:

‘Yesterday I happened to read in Izvestia a political poem by Mayakovsky. I am not an admirer of his poetical talent, although I admit that I am not a competent judge. But I have not for a long time read anything qn politics and administration with so much pleasure as I read this. In his poem [Incessant Meeting Sitters] he derides this meeting habit, and taunts the Communists with incessantly sitting at meetings. I am not sure about the poetry; but as for the politics, I vouch for their absolute correctness. We are indeed in the position, and it must be said that it is a very absurd position, of people sitting endlessly at meetings, setting up commissions and drawing up plans without end.’

VI Lenin Collected Works, Volume 33, p223

Mayakovsky’s Death

Mayakovsky in 1930

On 14th April 1930 Mayakovsky committed suicide. As with any death of a ‘celebrity’ there’s a shed full of conspiracy theories surrounding the circumstance of their demise. I won’t be even going there. There is a somewhat prurient photograph of the dead Mayakovsky showing a blood stain in the region of his heart – an unusual choice of target in a suicide. Perhaps a sign of his vanity and didn’t want to destroy his looks.

Why Mayakovsky in Kutaisi?

During the period of Socialist construction – which effectively ended in 1956 after Khrushchev made his infamous speech at the 20th Congress of the CPSU – Maykovsky was praised and respected for the work he had produced in times of crisis, i.e. the Civil War from 1917-22, as well as the efforts he made in the establishment of a new sort of writers organisation where ‘intellectuals’ would serve the people and not be the lackeys of rich patrons.

Mayakovsky – Kakabadze Art Gallery

In the period that followed the denunciation of Comrade Stalin by Khrushchev at the 1956 Congress the revisionists in the Soviet Union then turned on anything that challenged the direction they wanted to take the Soviet Union – now a post-Socialist state. This meant that Mayakovsky’s involvement in the Russian Futurist movement was played up in an inverse ratio as his role in the construction of Socialism was played down.

Then came the collapse of the Soviet Union into an openly capitalist society – the inevitable consequence of the decisions made in the 1950s. Georgia split from the erstwhile Soviet Union and gradually relationships between the two countries got worse and this exploded in a short 5 day shooting war. Although the firing stopped the animosity didn’t and as a consequence many of the manifestations of the Soviet past were either destroyed or neglected (such as the monument to the Unknown Soldier and the statue of Victory in Vake Park in Tbilisi which has just been left to rot.)

And the same fate has befallen Mayakovsky. Even though he was born in Georgia, in a small village close to Kutaisi (where he went to school until leaving for Moscow in 1906) he was, and still is, obviously too tainted with the Soviet Union to have a statue of him treated with any respect. I can’t imagine that where it is now to be found (in the courtyard of the Kakabadze Fine Art gallery in Kutaisi) was it’s original location.

Mayakovsky – Kakabadze Art Gallery

This courtyard is sometimes called (in the crass British guide books) as a ‘Sculpture Park’ but presently it’s more of a dumping ground for statues that aren’t politically acceptable (for whatever reason) to be on real public display. The courtyard is more correctly described as the designated smoking area for the art gallery staff.

Despite the above reservations it is a place to visit if you head to the art gallery. When I went it was the only place I could visit as although the gallery was nominally open it wasn’t to the public as ‘something was being set up in the gallery space’. (I think this was just an excuse that is given by museum staff when they don’t feel like making an effort. I encountered a similar situation in the Kutaisi Military Museum.) The only place I could visit was the courtyard.

But it was worth it. I’ll talk about the other sculptures in another post but here I want to concentrate on one statue – that of Vladimir Mayakovsky.

Mayakovsky – Kakabadze Art Gallery

It’s not in a good condition – but not as bad a condition as some of the statues who share the space. It seems to be made of stone – but not a particularly hard stone as the environment it has been living in for I don’t know how many years has not been very conducive to its preservation. There’s a fair amount of algae growing on the surface and this seems to be taking its toll. The courtyard doesn’t really get any movement of air and it’s probably quite cold and damp in winter – and even in summer the warmth from the sun is only there fleetingly and it can be quite humid.

This is where Vladimir now lives. For how long I, and I’m sure nobody, knows. As with the other damaged statues in the courtyard it might be the weather that really determines their fate. Once past a certain level of decay the expense of restoration would become prohibitive.

Mayakovsky – Kakabadze Art Gallery

I would like to have know more about the statue; where the statue originally stood, when it was moved – but have only been unable to identify the sculptor who was Irakli Ochiauri, who was born in Tbilisi on 24th November 1924 and died on 4th December 2915 (place unknown).

Location

The courtyard of the Kakabadze Fine Art Gallery on Rustaveli Avenue 8, just across the road and slightly to the centre of town from the Information Centre in the older part of Kutaisi.

GPS

42.2709

42.7008

Opening times

Monday – Friday 10.00 – 18.00

Entrance

GEL 1

The ‘East is Red Square’ Nanjiecun

Posted on 07/01/2018 by Michael

The East is Red Square, Nanjiecun

Nanjiecun (South Street Village) is in Linying County, Henan Province in the central part of the People’s Republic of China. What makes this place special (with a population of no more than 13,000 people) is the fame it has achieved as being ‘the last Maoist Commune in China.’

Whether it’s really possible for such a small place to maintain a Socialist Revolution is more than questionable, having to depend upon both loans from the Chinese capitalist banks as well as external, Japanese, investment. It can really be no more than a tolerated anomaly, a curiosity or a tourist theme park. If it ever posed a threat to the present day ‘capitalist roaders’ in Beijing then Nanjiecun would be crushed, both literally and figuratively, out of existence.

The fact that Nanjiecun exists (as does the politics and the actions of its people in the village of Marinaleda, in southern Spain) only goes to show the limitations of a small group of people attempting to build something better in a huge ocean of exploitation and oppression. Their efforts may be applauded and, at times, admired but we should never forget that to extend such ‘experiments’ demands the destruction of the present capitalist structure and until that is achieved (on a long-term, multi-generational basis) all is but chimera.

However, the merits or otherwise of Nanjiecun are not the subject of this post. A proper analysis of what has happened there – and why only there – since the destruction of Socialism in China would need a thorough study to understand why the Chinese people, in general, have rejected a past where the potential for the betterment of all has been rejected for the benefit and advancement of a relatively few corrupt thieves who are now some of the richest people int he world. It would also require a proper analysis of how we actually measure ‘poverty’. Capitalist standards are only concerned with ‘things’ and not the, sometimes, financially unquantifiable social capital that Socialism brings – the ‘iron rice bowl’ in the Chinese context.

No, this post is concerned with a single area of this present day commune – The East is Red Square.

In the Socialist societies in Europe (including the Soviet Union) the Communist Parties sought to commemorate the revolutionary past (and present) with statues. (One of the fallen statues, of Frederick Engels, from the Ukraine has even been recently installed anew in Manchester.) This preponderance of statues was not the case – at least to the same extent – in China. Yes, there were innumerable posters of Chairman Mao and his image was everywhere, on posters, in paintings and on the badges worn by most of the population. However, statues as such were relatively few. This means that when a statue has been installed – at the same time as the renegades within the Communist Party of China are going further and further away from Chairman Mao’s ideas – there’s always a story behind the decision, although sometimes that story might be difficult to find.

The large statue of Chairman Mao in front of the railway station in Dandong (the principal border crossing point between China and the Democratic People’s Republic of Korea) is a case in point. So far I have failed to find out any information of why or when.

The situation is clearer in Nanjiecun.

The people in the village decided to reject and roll back the ‘de-collectivisation’ and privatisation that was becoming the norm in China with Deng Xiaoping’s claim that ‘to get rich is glorious’. Selfishness, that had been challenged in the years following Mao’s declaration of the People’s Republic in 1949, was turned into a virtue and the predominantly peasant population of the country fell back into the insularity and individuality of their backward, pre-revolutionary, rural culture.

Nanjiecun’s ‘experiment’ must have been relatively successful in the 1980s as there was enough surplus for them to pay for the installation of a large statue of Chairman Mao in what is now known as ‘The East is Red Square’. The statue was erected in 1993 and I assume it was inaugurated on the 26th December – the centenary of Chairman Mao’s birth.

At some time in the next decade the four large portraits of the ‘greats’ of Marxism-Leninism – Karl Marx, Frederick Engels, Vladimir Ilyich Lenin and Joseph Stalin – were added to the monumentality of the square. (I, personally, would have added a fifth – Enver Hoxha of Albania – but I know a number of Maoists would not agree.)

There’s always a potential problem when it comes to Socialist art – nuance can be everything. To give an idea of how this is an issue I’ll refer to capitalist commentators who can ‘see’ subversion in a painting or a musical score produced in the Soviet Union that went unnoticed by the authorities (i.e., the ‘intellectuals’ were too clever for the ‘stupid’ Communists) only seconds after arguing that art is ‘apolitical’ and that capitalist art doesn’t aim to perpetuate the system. It’s not their analysis I dislike and detest – it’s their crass hypocrisy

I’ve always argued that art IS political and so it’s valid to critically evaluate any new monuments or ‘celebrations’ of the past (in whatever form they might take place) that might be appearing in China. As the present leader, Deng IV, seems to be attempting to take on some of the trappings of Mao – stripped of any revolutionary, Communist ideology – this might become an issue in the not too distant future.

It’s possible to attack Mao by praising Mao – this was something that took place during the Great Proletarian Cultural Revolution. After attacking the so-called ‘personality cult’ of Mao from the late 1970s those enemies of Maoism could well create a new ‘personality cult’ of Mao based solely on the person.

Chairman Mao in Dandong

The Chinese Revisionists and Counter-revolutionaries have been unable to achieve the same rejection of Mao as happened in the Soviet Union with Lenin and Stalin or in Albania with Hoxha. Mao is still seen in China, by the overwhelming majority of the population, as a great Chinese leader – millions still queue every year to visit the Mao Mausoleum in Tienanmen Square in Beijing. It’s possible, therefore, that those who seek to establish greater legitimacy and maintain their hold on power will try to play the nationalist card and turn Mao into a purely ‘Chinese’ personality – the antithesis of how Mao would have seen his achievements – thus turning the country inward. This is not that far-fetched as it might seem as the level of nationalistic fervour has been stoked up in recent years to justify China’s imperialistic ambitions.

All this doesn’t accept what made Mao great in the first place – that was the taking of Marxism-Leninism, applying it in the Chinese context and by learning from both the success and mistakes of the past Socialist revolutions developing the theory of the Cultural Revolution and taking Marxism to a new level, (although becoming a bit of a mouthful) to Marxism-Leninism-Maoism.

The statue of Mao in Dandong is one such example of this new, depoliticised, depiction of the great Chinese leader. There’s nothing on, or around, the statue which refers to what made him such a great leader in the first place, his uniqueness as a leader of the world proletariat and peasantry – his being a revolutionary Communist. It’s a great statue but you get the impression that, like the statues of the Roman Emperors, you could just replace the head with whoever was in power at the time and there would be no real difference. As it stands at the moment it’s just a statue of a 60 year old wearing a big overcoat who, for some unknown reason, has his right hand raised and pointing to some unknown location in front of him.

The statue of Mao in Nanjiecun doesn’t suffer from that defect. Coming from those who knew the importance of the politics, of the necessity of a Communist Party, of the necessity of a revolutionary ideology, all these attributes are represented in the statue itself in a very simple and almost unobtrusive manner, but there nonetheless, – and that’s the star on the cap he holds in his hand.

The Red Star

As I’ve written in a number of posts about the Albanian lapidars (such as the mosaic on the Historical Museum, the mosaic of Bestrove, the Durres monument to the anti-Fascist struggle, amongst others) where the star has often been the target of the fascists and reactionaries – eradicate that and they think they can eradicate Communist politics. So including it in a ‘new’ monument the people of Nanjiecun made their own political statement.

That political statement was made even stronger with the addition of the four portraits of the Marxist ‘Greats’. Whether whoever designed the layout of the square considered how it would look when completed what we have now is a history of the development of Marxism thought through; successes and failures; revolutions and counter-revolutions; twists and turns; suffering and sacrifice; elation and despair, to arrive at where we are now with Maoism being the pinnacle of the development of the revolutionary theory of the working class. We are not in a situation that we would have wished just over a hundred years after the October Revolution of 1917 but we are where we are. At least the revolutionary theory has moved forward. Whether we make the most use of all that history is another matter.

In a sense the statue and portraits in The East is Red Square are in a bit of a time warp – that of the Great Proletarian Cultural Revolution. Mao’s image is of what he would have looked like in the mid 1960s and the paintings of the four Marxists are almost exact copies of the coloured posters that were available throughout the world from the late 1960s until the counter-revolutionary coup of Deng and his goons after the death of the Chairman in September 1976.

JV Stalin

The portraits are behind Mao as he looks to the east. In front of him, on either side, are two large billboards with a lot of text in Chinese characters. (In fact for a Socialist political monument there’s a lot of text full stop – including on the plinth upon which Mao stands. Although unusual it shows the level of literacy that the Socialist state had achieved during the time of Communism. The people can actually understand what is written – unlike most religious locations throughout the world where emphasis is upon image due to the high level so of illiteracy.)

The one on Mao’s right also carries an image which looks very much like the photo of him making the declaration of the People’s Republic in Tienanmen Square in October 1949. Unfortunately I’m not able to understand Chinese characters but would surmise that the text is that very declaration.

Declaration of the People’s Republic of China 1949

On his left the image is of an older Mao, probably from the 1960s, so I would hazard a guess that the text is from one of the exhortations he made from the podium over the Gate of Heavenly Peace to the massed Red Guards in Tienanmen Square.

The area has changed over the years. I’ve seen photos where there were trees behind the statue. They might have been OK as bushes but started to become a bit much after a few years and they have been removed so the immediate area around the statue is now clean and clear. I’ve also read that there was a permanent ‘guard’ at the site but there was no evidence of that during the (regrettably short) time I was there. Also there was no music playing (as is often reported) so don’t know if this is the now permanent situation.

I made a number of mistakes and got to the village quite late in the afternoon and many of the places immediately next to the square were closed so I wasn’t able to get a feeling of how the area had been developed for the growing number of tourists that visit Nanjiecun.

Getting there

It’s possible to stay in the Commune’s own hotel, which is located right next to the square. The problem is one of communication as the staff only speak Mandarin.

If a day trip is all that is looked for then getting to Linying railway station is the best bet and then walking a kilometre or so or getting a taxi to the village. There are also regular buses from Zhengzhou (the nearest big tourist destination) to Linying.

GPS:

33.80611111

113.95416667

DMS:

33º48’21.9”

113º57’15.2”

[Show thumbnails]

National Art Gallery ‘Sculpture Park’ – Tirana

Posted on 23/10/2014 by Michael

Uncle Joe – Art Gallery ‘Sculpture Park’

National Art Gallery ‘Sculpture Park’ – Tirana

Each time I’ve been to Tirana I’ve made it a point to visit the impromptu ‘sculpture park’ that has been created behind the National Art Gallery, just down from the main Skanderbreu Square in the centre of Tirana.

The Art Gallery itself has only a very few actual sculptures on display inside the building, the emphasis being on paintings, especially those from the period from 1945 to 1990, where the dominant style was that of Socialist Realism.

But the area behind the gallery was constructed not for the display of works of art but as a service access to the building. And as the gallery is a public building this area shows the lack of care and investment in maintenance that is the general fate of public spaces in the whole of Albania, not just the capital of Tirana.

The statues that are now there would have previously held pride of place in some public square in different parts of Tirana but there is no indication of their provenance. Some have been damaged, either by accident or design, the statue of the great Marxist and first Soviet leader, Vladimir Ilyich Lenin (the work of Kristina Hoshi, the original of which was created in 1954 in cement) in bronze, missing his right arm from the elbow. This once stood proud close to its present position, in the park across the road.

Many of the statues of individuals from the socialist era take on the pose of some famous meeting and the stance that Lenin takes in this statue can be seen on a number of photos from his relatively short time as leader of the first socialist state (his life no doubt being cut short as a consequence of an assassin’s attempt in 1918 which failed in its aim but which meant that a fragment of the bullet could not be removed from Lenin’s brain).

VI Lenin in Tirana – 1970

When it comes to the great Marxist leaders they are always (at least here in Albania) depicted with their right arm making some sort of gesture or greeting whilst slightly behind their bodies, in their left hand, they hold a roll of paper as if they are about to make an important proclamation.

Although this damage is unfortunate at least it allows an insight to the form of construction of these statues. They are not made of solid bronze, as many would think, but of a hollow bronze that’s only about a couple of centimetres thick. This relatively cheap construction technique explains why so many statues were erected in virtually every town in the country (it also explains why it was so easy to topple these statues in the counter-revolution).

Although few in number this small group provides quite a deep insight into the thinking of the Party of Labour of Albania during the 45 years it was the dominant political force within the country and attempting to construct a socialist society.

Uncle Joe – in happier times in Tirana

Socialist Albania gave women a role in society and assigned them an importance that has never been surpassed, either in the Soviet Union which proceeded the victory of Socialism in Albania or any other country that has attempted to construct socialism since. This is not the role of women in the higher echelons of society, the breaking of the so-called ‘glass ceiling’, the breaking of which only benefits a minuscule percentage of women in any society yet which gets most coverage in the capitalist media.

In Albania it was the women from the working class and peasantry whose lives were changed beyond recognition. In a patriarchal society where women were oppressed by virtual feudal social and economic conditions, as well as by the stultifying traditions of the church (of various trends) by the taking up of the gun during the war for national liberation against the Italian and German Fascist invaders they stated unequivocally that they would no longer ‘live in the old way’.

In many of the extent monuments to the struggles of the past a woman takes a central position and virtually always with a weapon in hand. Albanian women weren’t prepared to have ‘freedom’ given to them, they would fight for it themselves, freedom that would have real meaning. The clearest example of this idea can be seen in the huge mosaic on the façade of the National Historical Museum in Skanderbreu Square in the centre of Tirana.

The young woman depicted in the dirty shambles of the rear of the Art Gallery (in bronze) is of Liri Gero and exudes confidence in her own ability, looks the viewer straight in the eye (not looking down as ‘traditional’ society would have her do), has a gun strapped to her back and clutches a small bunch of flowers in her left hand. Communists fight for bread but for roses too!

Female Liberation Fighter clutching flowers

The smallest of the collection depicts a male fighter (also in bronze) from one of the ethnic groups from the mountains of Albania demonstrating that the fight for freedom is not restricted to the ‘sophisticated’ city dwellers or a self-selected intellectual elite but should involve everyone from all sectors and strata of society.

Liberation Fighter

Another of the statues is a physical representation of one of the fundamentals of Albanian Socialist society, the Pickaxe and Rifle (Hector Dule, 1966, Bronze). Here we have a male holding a rifle, the butt resting on the ground, in his left hand whilst in his right he holds high a pickaxe. These two items are the equivalent of the Soviet Hammer and Sickle. Whereas in the Soviet Union the symbol represented the unity of the industrial worker and the peasant the Albanian Pickaxe and Rifle declares that the successful construction of a Socialist society depends upon physical labour protected by the determination of the population to defend any gains by force of arms.

Pick Axe and Rifle

The fact that far too many Albanians forgot this necessity during the counter-revolution of the early 1990s (and then seemed to lose all common sense in the chaotic years that followed, basically throwing out the baby with the bath water) doesn’t detract from the validity of this revolutionary concept.

JV Stalin – Skenderberg Square, Tirana

Finally we have the statues of JV Stalin and VI Lenin, the great Marxist Russian leaders so admired by the Albanian leader Enver Hoxha. I’ve already mentioned the damaged statue of Lenin. This statue, along with one of Uncle Joe, was covered by a tarpaulin just prior to the 100th anniversary of Albanian ‘independence’ in November 2012 – true independence for Albania (if only for 46 years) was achieved on November 29th, 1944. They have now been released from their dark penance but they have been joined by another new comrade who is, presently, covered with a white tarpaulin. I have been told this is a damaged bust of Enver Hoxha.

The hidden stranger

I was pleasantly surprised on my visit in October 2014 to find that there had been a new arrival to the small, select group. This was another, but somewhat larger, statue of Stalin. The ‘new’ arrival is in a less formal stance, without cap and is depicted as if greeting the viewer with his right arm stretched out. This is made out of bronze and as far as I can tell it used to stand in the square in front of the Bashkia (Town Hall) in the town of Kombinat – to the south-west of Tirana, on the old road to Durres.It’s at this point you would get off the bus if you wished to visit the grave of Enver Hoxha in its present location in the main city cemetery after being ousted from the National Martyrs’ Cemetery.

On one side of this square was the main entrance to the huge textile factory that gave the town its name (Kombinat means factory in Albanian). This has been derelict for many years and the ruins have slowly disappeared as the land has been cleared for other uses. The only noticeable remains of the factory is the main gate itself – with interesting decoration over the arches. You can get an ideas of how things used to look from a small painting called Voluntary work at the ‘Stalin’ textile factory by Abdurrahmin Buza and painted in 1948 which is on permanent exhibition in the Art Gallery itself.

It’s exactly the same as a statue that was placed in the oil and industrial town of Qender Stalin (now renamed Korcova, not that far from Berat) but there the statue was made from concrete and unlikely to have survived the chaos of the 1990s.

The original design was by Odhise Paskali whose other works number the statue of Skanderbreu on the horse in the square to which he gives his name in the centre of Tirana, as well as another of the national hero in the National Museum, this time not being a burden to a poor animal but standing on his own two feet. Paskali was also the artist for, among others; the group Shokët (Comrades) in Përmet Martyrs’ Cemetery; the standing Partisan on the monument to the Congress of Përmet in the town itself; a double bust of the Two Heroines of Gjirokaster; and a bust of Vojo Kushi, now in a small square on Rruga Dibres to the north of the city centre.

Perhaps one down side of a new Joe arriving is that the statue of the female Partisan, Liri Gero, has been moved to make way for the Man of Steel and is now facing the other statues, with her back to the Art Gallery. Is this yet another example of the return of a patriarchal society or is it, the reverse, that the female fighter is going to give a lesson to the men?

If I will ever be able to find out more details of these statues, i.e., who was the sculptor, where they originally stood, how they survived the counter-revolution and why they ended up in the shadows of the National Art Gallery remains to be seen.

One slight difficulty that has arisen since my last visit a couple of years ago is the presence of a ‘security’ guard who has to be circumvented in order to get a close view of the statues. Why he is so conscientious in this I don’t understand. If the authorities don’t want anyone to see them why place them out in the open? However, he can only be in one place at a time and when he is watching the world go by at the southern end of the gallery grounds, just creep towards the north.

NB From the end of 2021 the gallery has been closed. I have no information about exactly why but there had long been signs of the need for structural repairs. When it will reopen I have no idea. There didn’t seem to be much activity when I was in Tirana in the summer of 2022. Neither do I have any idea of what will be exhibited. There is, I’m sure, a possibility that the items that were part of the permanent exhibition, works of Socialist Realist Art, might well be confined to the depths and the gallery will become a centre of decadent capitalist ‘art’.