Paintings, murals and sculptures of Socialist Albania

The Albanian Cultural Revolution

‘Death to Fascism’

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Art as a means of promoting Socialism in Albania

Socialist mosaics and bas reliefs in Albania

The Albanian Cultural Revolution

Paintings, murals and sculptures of Socialist Albania

As with the mosaics and bas reliefs there are still many other examples of Socialist Realist art which it is possible to appreciate throughout the country. Sometimes they are on permanent show as they are out in the open air, others are in museums and art galleries. Many of these public areas of exhibition were vandalised post 1990 but there seems to be a trend, slow and often partial, to renovate some of these old exhibition spaces and to show what had been shown in pride of place in the past.

There are also a few reprints of articles published during the Socialist period. These have been reproduced in an attempt to give a wider view of the role of art in a Socialist society.

The Revolutionary Spirit in Albanian Painting and Sculpture.

This article first appeared in issue No 6, 1969 of the bi-monthly magazine New Albania which reported on the biennial exhibition of Figurative Art that was held in the National Art Gallery in Tirana earlier in the year.

1971 National Exhibition of Figurative Arts – Tirana

This article was first published in New Albania, No 6, 1971. It discusses the general idea of art in a socialist society, how the Albanians saw ‘Socialist Realism’ with mention of a handful of works (out of 180) that were displayed at the National Exhibition of Figurative Arts in Tirana in the autumn of 1971.

A Reflection of the Progress of our Figurative Arts

This article first appeared in New Albania, No 6, 1976. The bi-annual Figurative Arts Competition and Exhibition seemed to have been postponed from 1975 and instead took place in 1976 to coincide with the 35th Anniversary of the Founding of the Party of Labour of Albania.

Traditional Wedding Mural in Peshkopia

There’s a perception by some (normally the ignorant and anti-socialist) that any work of art created during the construction of Socialism is necessarily ‘Socialist Realist’ art. They don’t understand, or refuse to accept, that the construction of Socialism is a long task. When it comes to art this involves asking the people to challenge their view of what is going around them and to look at artistic works in a critical and thoughtful manner and that this involves the unmasking of the hidden messages in a painting, sculpture, film or any other creative endeavour. One such work that needs to be seen in this light is the Wedding Mural which covers one of the walls of the Korabi restaurant in the hotel of that name in the town of Peshkopia.

‘Death to Fascism’ Mural in the National Historical Museum, Tirana

The mural that covers the whole of one wall in the room of the National Historical Museum in Tirana that’s devoted to the War of Liberation against the invading fascists of 1939 to 1944 is one of the few which can still be appreciated at leisure by any visitor.

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.

No, Vladimir Ilyich and Uncle Joe, you shall not go to the ball

No, Vladimir Ilyich and Uncle Joe, you shall not go to the ball seems to be the message given out by the pro-Western government in Albania. Vladimir Ilyich Lenin and Joseph Stalin are covered up by the Albanian reactionaries in an attempt to prevent them from spoiling their Independence party at the end of the month.

A new look, and a new resident, to the National Art Gallery ‘Sculpture Park’, Tirana

The ‘Sculpture Park’ behind the National Art Gallery in Tirana, has a new resident. Well, not so much a new resident but one who has been there for a few years but it is only recently that the authorities at the Art Gallery have decided to, literally, take off the wraps and reveal his presence to the world. The new resident is none other than Enver Hoxha, up to his death in 1985, First Secretary of the Party of Labour of Albania, Chairman of the Democratic Front of Albania and Commander-in-Chief of the Armed Forces.

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

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

The ‘Archive’ Exhibition at the Tirana Art Gallery

This exhibition (that took place during the latter part of 2021) at the National Art Gallery in Tirana seemed to include virtually everything that had been in storage over the last 30 years. But calling it an exhibition was a bit of a misnomer. The word exhibition gives the impression that a bit of thought and consideration had been put into the mounting and display of a collection of art. That is supposed to be the art of a curator – although that was totally neglected in this case with all items placed in the room with consideration of context. This included works of art that had been damaged for whatever reason in the past.

Mother Albania Expelling The Priest and The Military

There are fine examples of Socialist Realism in the Armaments Museum in the Castle in Gjirokastra, but you might have to ask to go upstairs to enter this older part of the museum – especially out of the summer season. ‘Mother Albania Expelling The Priest and The Military’ is one such sculpture.

Emblem over Party HQ, Peshkopia

Originally my project to describe, in detail, the magnificent examples of Socialist Realist Art that are embodied in some of the lapidars throughout the country has now expanded as I’ve encountered other incidences of the unique manner used in Albania in its attempt to impart the message of Socialism. Whereas some of these are truly monumental in all senses of the word, such as the Drashovice Arch, many others are, if not actually hidden, difficult to find unless you are looking for them or, as in this case, are directed towards it by a knowledgeable local. The emblem over what used to be the Headquarters of the Party of Labour of Albania, in the mountain town of Peshkopia in the north-east of the country, is one such example.

Liri Gero and the 68 Girls of Fier

Many monuments, statues and lapidars from Albania’s Socialist period have suffered over the years, through outright political vandalism or just neglect. However, there has been a bit of a sea change in recent years but this has not come without its own problems. Here I want to develop the ideas of Albanian Socialist Realist art by looking at two works produced to commemorate the life of a young partisan woman, Liri Gero, and also a work in commemoration of 68 young women who also left their home town of Fier to join the partisans fighting the Fascist invaders.

The ‘Hanged Women’ of Gjirokastra

Tucked away at the top end of Sheshi Çerçiz Topulli (Square) in the old part of Gjirokastra is a small statue which you could easily miss. Next to the potted plants in front of the Tourist Information Office is a white stone statue, of the upper body, of two women. This is a representation of Bule Naipi and Persefoni Kokëdhima who were executed by the German Nazis in 1944. From that time they became known as the Hanged Women of Gjirokastra.

Traditional Musicians and Dancers

Although there are many monuments and statues that are overtly political, in that they commemorate events or people involved in national liberation struggles (whether that be against the Ottoman Empire or the Italian and German Fascists of World War Two) other aspects of Albanian life are also represented in various locations throughout the country. As Gjirokastra, in the Socialist period, had become the centre for periodic folklore festivals it’s not surprising to find a frieze depicting traditional musicians and dancers located there.

Enver Hoxha returns to Tepelene

…. although he probably never left, just ‘hiding’ for a while.

Almost thirty five years after his death and thirty years since the reaction was able to gain control in Albania it is very difficult to come across public images of Enver Hoxha, the leader of the country for just over forty years. In the 1990s the reactionaries needed to personalise any difficulties in the country and someone who had been dead for five years was an ideal candidate – even to the extent that Comrade Hoxha was considered responsible for events that had happened after his death. So he had to disappear from view.

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Monument to Communists murdered by Italian Fascists – Tepelene

Italian Fascist Barbarity - Tepelene - 02

Italian Fascist Barbarity – Tepelene – 02

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Monument to Communists murdered by Italian Fascists – Tepelene

Apart from what it commemorates, that is the torture and murder of four communists from the from the area by the Italian Fascists in 1943, the lapidar – just below the castle walls on the main road between Gjirokaster and then heading north towards Tirana – isn’t exceptional and doesn’t have any real architectural value, but it encompasses a number of aspects which make it slightly unique.

The first is its very location. It sits quite high up above the river and looking south you can see where the the two rivers meet. The Drino comes from Gjirokaster and the Vjosë comes from Pëmet and as the now much larger river passes beneath Tepelene (and the lapidar) it is now takes the name Vjosë and continues north west until it joins the Adriatic close to the town of Fier.

So the view from its location is quite spectacular, not only of the rivers but also the high mountain range which separate Pëmet from Gjirokaster. As the crow flies they’re quite close to each other but you have a mountain range, which is over 2000 metres high, in between.

The other thing that makes this lapidar quite interesting is the fact it has been totally reconstructed. When the Albany Lapidar Survey was done in 2014 the layout was basically the same but it was dirty and there was some damage. (A couple of photos of the original can be seen in Volume 3 of the results of the Survey.) The present lapidar has maintained the original design but is now clean and there was obviously an effort to restore it but with respect for what had been there originally.

The marble was cracked and dirty on the original but that’s now being cleaned up. The wording of the reason for the monument is exactly the same (even following the same font), including a repition of the names. The only significant difference between the two versions is that on the original a (superfluous) addition of the year ‘1943’ appeared below the names of the four Communists who were murdered by the Italian fascists.

Italian Fascist Barbarity - Tepelene - 04

Italian Fascist Barbarity – Tepelene – 04

So what we have here is a simple, two part lapidar. On the left is a straightforward square, concrete pillar, faced with marble and on the top of which, in a circular stone plaque, is a star that hss been painted red.

Italian Fascist Barbarity - Tepelene - 01

Italian Fascist Barbarity – Tepelene – 01

To the right you have the the rectangle of the the lapidar itself, with the legend, in Albanian;

Ketu me 2 korrick 1943 fashistet italian pasi I torturuan barbarisht vrane sekretarin e qarkorit te partise te beratit Kristaq Capo dhe te rinjte komunist Qemal Mysliu, Vildan Lurasi dhe Andrea Vrusho

which translates into English as;

Here, on July 2nd 1943, the Italian Fascits brutally tortured to death the Berat District Party Secretary Kristaq Capo and the Young Communists Qemal Mysliu, Vildan Lurasi and Andrea Vrusho

Italian Fascist Barbarity - Tepelene - 03

Italian Fascist Barbarity – Tepelene – 03

One other thing that might be of interest is that the location of the image in the painting of Enver Hoxha, which ‘reappeared’ in the Tepelene Historical Museum a few years ago, is, more or less, on this very spot.

Enver Hoxha with the people of Tepelene

Enver Hoxha with the people of Tepelene

In Tepelene there seems to be an approach towards the socialist past which is a lot more positive than in some of the other towns in Albania. The museum is looked after, it’s staffed, clean and it’s open to the public. Some parts which had been closed in the past are being opened up and some exhibits being brought out of storage and placed on display – such as the magnificent maquette of the proposed (but never completed) lapidar at the Tepelene Martyrs’ Cemetery.

Also within the town itself there are a number of busts of Peoples Heroes, again cared for and in good condition.

So it would seem that in Tepelene we have a local government which has a respect for the past, especially the Anti-Fascist National Liberation War, and is prepared to spend time and money to maintain that past.

Italian Fascist Barbarity - Tepelene - 05

Italian Fascist Barbarity – Tepelene – 05

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Enver Hoxha returns to Tepelene

Enver Hoxha with the people of Tepelene

Enver Hoxha with the people of Tepelene

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Enver Hoxha returns to Tepelene

although he probably never left, just ‘hiding’ for a while.

Almost thirty five years after his death and thirty years since the reaction was able to gain control in Albania it is very difficult to come across public images of Enver Hoxha, the leader of the country for just over forty years. In the 1990s the reactionaries needed to personalise any difficulties in the country and someone who had been dead for five years was an ideal candidate – even to the extent that Comrade Hoxha was considered responsible for events that had happened after his death. So he had to disappear from view.

This was not something new and peculiar to Enver Hoxha or Albania. Joseph Stalin was held personally responsible for anything considered untoward whilst leader of the Soviet Union. How a single person can be held personally responsible for everything that happens in a country that covered one sixth of the Earth’s land mass is something I have never understood. At the same time this ‘superman’ with God-like qualities is denigrated by Trotskyite neo-fascists as being an ignorant Georgian peasant.

Some of the ignoramuses who state things would have developed differently in the Soviet Union if Vladimir Ilyich Lenin had not died (partially as a result of the part of an assassins bullet still being lodged in his brain) prematurely in 1924 just don’t understand either the man or the Marxist-Leninist ideology. Such people who indulge in these ‘what if’ scenarios are often superficial in their approach and especially in the case of Lenin display a total ignorance of what a strong leader he was and how he knew – long before Chairman Mao put it in poetic language – that ‘a revolution is not a dinner party’. Hard acts and decisions are needed to reverse centuries of exploitation and oppression and the stultifying effect this has on the thinking of those on the receiving end of such treatment, i.e., the vast majority of the world’s population.

But it is always easy to blame an individual and even more so when they are not around to defend themselves. It’s also useful for reactionaries (and here I’m talking about both the ‘capitalist roaders’ – to use another term from Chairman Mao – who might have hidden themselves within the Party structure just waiting for a chance to show their true colours and the reactionaries who had hidden themselves in some hole just waiting for the chance to get their revenge on a system that had deprived them of their wealth and power – the latter group always having assistance and support from those countries of the so-called ‘capitalist west’) to personalise matters as that means there’s no real discussion about ideology, either the past or the future.

Successive governments in Albania – when the country wasn’t at its own throat in an almost open civil war or depriving a huge number of relatively poor people of whatever savings they might have had due to criminal pyramid/ponzi schemes – have displayed an unbelievable propensity for corruption. And to divert attention away from their criminal activities of the past and present (and they hope for the future) they heap all manner of calumnies upon the leader, and ruling Party, of the past.

But after thirty or more years blaming everything on persons who are either dead or out of any position to determine events starts to wear thin.

The first Socialist state (which was established in Russia in 1917 and which became known as the Union of Soviet Socialist Republics – USSR) was established in a world where the overwhelming majority of the population had been oppressed and exploited by various social systems for thousands of years. Changing the relationships of the people to the means of production was a difficult enough task but to change ideas was even more so. Yet within a matter of months, in the new Soviet state, those peasants who might have taken advantage of the chaos that accompanied the Civil War were pointed at and highlighted as ‘Communists exploiting the situation’. (Here I’m referring to photographic images with captions such as ‘Communists selling human flesh’ during the worse days of the Civil War – if not caused by certainly sponsored by the previously warring parties of the 1914-1919 War.)

The stupidity of such an assertion – that those who had never encountered Socialist ideas before and more than likely were illiterate would become clear thinking and committed Communists in a matter of days – shouldn’t really need to be refuted. However, the world is full of stupid people who will lap up such dross as a hungry dog eats its own vomit.

But when those Socialist societies tragically collapse (due to a mixture of both internal and external contradictions) and the world is ‘opened up’ to the population of those countries to enjoy the ‘benefits of capitalism’ they find that all that was promised on the other side of the rainbow is not quite what they expected, in fact it was all a con.

There was a price to pay for all those promises and when it was paid the wherewithal to achieve the capitalist dream was denied to huge sectors of the population. From being members of a Socialist society where they were the owners of all they became mere cogs in the capitalist machine where a privileged few were in real control and only a mere handful could ‘raise themselves from their menial position’ and get to have a real feed at the trough. But the more the few stuffed themselves the less there was for the majority.

In Albania, apart from taking out their frustration on statues of Enver Hoxha, especially in Tirana and Gjirokaster, the population (probably egged on by foreign supported neo-fascist forces) decided to destroy virtually all the means of production. This resulted in factories being looted of anything of any value and in every town and city, now 30 years later, there are still the empty shells of these one time thriving factories.

When I first went to Albania in 2011 I couldn’t really understand this. I couldn’t, and still can’t, get my head around why, if people for whatever reason don’t like a social system they then destroy the places where they used to work. If they thought the Party of Labour of Albania wasn’t allowing them the full rights to control their factories why didn’t they take them over and run them themselves? If they were tired of having the responsibility of making decisions and having to think for themselves why didn’t they just turn the factories over to those who would be quite happy to exploit the workers ‘in the good old fashioned capitalist manner’. Then at least they would have work.

One argument given to me as some sort of excuse for such actions was that the machinery was old and needed replacement. That might well have been the case due to the country’s forced isolation but that doesn’t mean the solution is to loot everything and leave a useless shell. That doesn’t make sense in any society. This was especially so as in the 1980s workers in Britain were occupying factories when the owners wanted to close them down. Why this great divide between the intentions and activities of the workers in the two different countries?

In Albania they just destroyed the means of production and then realised there was nothing for them to do but leave the country in order to be able to keep their families alive. So in the 1990s vast numbers of workers went to various neighbouring countries but mainly (at least initially) to Italy and Greece. And this continues to this day – although the crisis that followed the capitalist disaster of 2008 has had an effect on that once reasonably easy form of making a living.

But thirty years on capitalism has not turned Albania into a thriving country – as was ‘promised’. But then capitalism never has, doesn’t now and never will provide for the vast majority of the population. Even in the countries of the so-called ‘prosperous industrialised world’ we see vast differentials in the incomes of their populations and the next capitalist crisis is always around the corner – each one more severe than the last.

So a generation after the ‘fall of Communism’ (six generations if you are a Scottish nationalist) some people are starting to think that perhaps they threw out the baby with the bath water in the 1990s.

This is not just a recent revelation. In my travels in Albania since 2011 I have met a number of people who bemoan what they allowed to happen. Yes, they were isolated (I would argue that was not Albania’s fault but the hostility of the capitalist and revisionist world which was annoyed that such a small country held on to its principled stand in the face of such fierce and overwhelming opposition) and yes, perhaps they didn’t have all the consumer goods that seemed to be falling from heaven in the capitalist countries.

But they did have a functioning and effective health system free for all, they did have an equally free education system, there were guaranteed jobs – which came with apprenticeships and training – they had a society that was functioning and where the majority of the family would be in the country, they did have enough to eat (although toward the end of the 1980s the chaos that was being whipped up by reactionary elements meant that supply routes were continually being disrupted).

This has been a long introduction to a post which announces that Enver Hoxha is now starting to appear in (still a few) public locations in the country. The damaged large, white, marble bust that appeared behind the National Art Gallery a couple of years ago has now been unwrapped – even if the sculpture does have a broken nose. And the general area is now easily accessible to visitors (after years of me having to time my approach when the security guard was otherwise engaged) and the area is generally clean. That doesn’t mean that the ‘well-informed’ local guides don’t spout the same anti-Socialist, anti-Communist, anti-Hoxha line but visitors can appreciate some of the culture of the Socialist era.

And in 2020 the picture at the head of this post was visible to any visitors to the Tepelene (in the south of the country) historical museum.

Right at the back of the museum, attached to the room that commemorates the struggle of the Albanian people in the War of National Liberation against the Italian fascists and then the German Nazis, is a small room (I am almost certain in its original condition, i.e., pre 1990) which contains this picture of Enver Hoxha during a visit to the town of Tepelene. As well as the painting there are boards pinned to the wall that celebrate the achievements of the Albanian people in various fields such as industry, agriculture, health, education and social well being.

The painting bears the name of Aljosha Billbilli and is dated 1985 which indicates it could have been commissioned following Comrade Enver’s death in April of that year. It shows the leader of the Party looking down across the Vjosa River with the mountain range that separates Gjirokaster and Permet in the background.

Across the river can be seen terraces which had been constructed in the Socialist period, now no longer in use as individual, small holder farming (which is what exists in the vast majority of the country) doesn’t allow for the labour power to maintain such collective systems. Terraces also need irrigation which is another collective enterprise.

As is often the case in Albanian Socialist paintings there is a representation of the different ethnic backgrounds of the people of the area. This is shown primarily through their dress but also by their physical characteristics. Being a small country Albania presents a huge variety of ethnic types.

It’s not possible to exactly place the location of the picture but there’s a lapidar alongside the road that skirts the town of Tepelene which offers a very similar aspect to the one in the painting.

So if you are in the vicinity of Tepelene (and most visitors to the country will be as Gjirokaster, one of the most visited towns is a mere 30 minutes or so down the road) then call in to the Tepelene Museum, just up a few steps up the hill on the left where the road, on entering the town, widens on the approach from Gjirokaster or Permet.

Unfortunately opening times of the museum can be slightly erratic but it should be open during the early part of the day from Monday to Friday.

Tepelene Historical Museum - Pickaxe and Rifle

Tepelene Historical Museum – Pickaxe and Rifle

One other aspect of the museum building which is quite unique is the symbol of the Party of Labour of Albania on the facade, just above the main entrance.

This is a metal image of a Pickaxe and Rifle (which can also be seen on the top of the building which used to be the Party’s headquarters in Peshkopia). The idea here is that Socialism will be built by the labour of the workers but the new social system needs to be prepared to use arms in order to defend what has already been gained. Capitalism never rests when it sees that it’s control of various parts of the world has been, is and will be challenged and a strong and determined response is crucial for the survival of the Socialist system. Joseph Stalin and Enver Hoxha were very clar and united on this matter.

That’s why, to repeat what I’ve already stated above, ‘a revolution is not a dinner party’ and once down the road of the construction of Socialism there are certain steps that need to be taken if the attainment of Communism is to be achieved.

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