The 14 Maggio 2009 began the Fourth Edition of the Prague Biennale (Prague Biennale) - which is emerging in the international contemporary art scene. But not only that, this year a group of our artists will participate among the participants, in the section "Albania & Kosovo".
Arsim Kajtazi - Mr Shabani, we are now close to the opening of the 4 Prague Biennale, where you as a curator made the selection of the Albanian artists who will present themselves in this creative international exhibition. Can you tell us more about your selective and representative concept? Artan Shabani - The curatorial concept under which I am lucky enough to present a group of Albanian artists at the Prague Biennale 4 is entitled "Old news from the Balkans". This project is represented by a group of artists who, although they belong to different styles and states, share the medium of painting and ethnicity.
The Balkan peninsula is famous for the clichèche esportanel mondoda quasiduesecoli - ranging from ethnic conflicts, religious, national, frontier, linguistic to those on the names of saints, passing through the burning of churches and mosques, stealing icons and hymns of the turbofolk - therefore this project with its artists tries to put into daily use the effort that the people of the Balkans undertake to live their intimate life in a walking micro geography and not in a metaphor imposed by the titles of national and international newspapers.
These international reviews, even those at the Venice Biennale where Albania has had various modest experiences of representation, pose the delicate question of full sustainability, especially financial, of art and culture also with reference to the participation of the State.
Arsim Kajtazi - How seriously do you understand that we must understand our art and our culture as one of the values and mechanisms worthy of representation of our culture in the spirit of European and international cultural integration? Artan Shabani - It is right and it is the case of saying and thinking that art has an impact immediately thanks to the fact that it creates the image of a country. In the case of countries like Albania or Kosova, the artistic image takes on a priority role precisely because what we have exported to the world for many years are mainly illustrated by the television news and the conflicting clichés of which I spoke above.
The Albanian art and international representation require serious and special attention from the state, the role of which seems to me very absent in relation to the expectations that art professionals have towards it.
In the case of the Prague Biennale, I have not had any kind of financial help from the state and / or any other sponsor, except the isolated case of Vlora's Promenade Gallery, which specializes in promoting international artists in Albania and of those Albanians in the world.
At the Venice Biennale, Albania presented itself with such artists as Sisley Xhafa, edited by Andi Tepelena, but also with others like Adrian Paci and Anri Sala. This year I had the good fortune of being invited to the Venice Biennale thanks to the Krossing Project with the Happy Hours cycle with which I present the theme of emigration and social sensitivity towards this phenomenon. Most of these initiatives remain totally individual and are not encouraged at the state level. This, in my personal opinion, is a very important handicap, especially in international activities of this caliber, even just because the other competing artists are supported by sophisticated state structures which undoubtedly offers them a competitive advantage.
In the suselection there are 6 artists, 4 from Albania and 2 from Kosova: (Driton Hajredini (KS); Ervin Hatibi (AL); Dalip Kryeziu (KS); Alfred Mirashi (AL); Alkan Nallbani (AL); TO THE).
Arsim Kajtazi - In this case you have also chosen two well-known artists from Kosova, Dalip Kryeziun andDriton Hajredinin. What aspects have influenced your choice regarding these artists? The aesthetic aesthetic aspects of visual art predominate, or are there other non-aesthetic elements that have prompted you in this case? The presentation criteria were rigorous enough to elevate the representation to State level? This presentation means that there are also dimensions of collaboration between the two ministries of culture, or that in this case the artistic concept has risen above impediments and cultural policy? Artan Shabani - I repeat, in spite of myself, that on the part of the Ministries of Culture of both Albanian countries I had no help or collaboration for the representation of this project. Promenade Gallery was the only private support structure, which promotes Albanian artists in a vast spectrum, including the two Albanian artists from the Kosova regions.
Dalip Kryeziue Driton Hajredini are two talented figurative artists who, through their long experience in Germany, Switzerland, Denmark and elsewhere, have conquered a dignified position in the arena of European art. Even the Albanian artists chosen in Albania are artists of proven fame in the arena of European art and each of them presents its distinct peculiarities so that the picture of pan-Albanian art is represented with all its spectrum. It is worth noting the contribution of the artist Ervin Hatibi that the pan-Albanian public knows mainly as a talented poet, but he knows him less as a painter. I personally trust the work of each of the artists and I think I will continue the collaboration with them for to present them also in the projects I intend to undertake in Copenhagen, New York, Milan and undoubtedly also in Vlora (Albania).
Arsim Kajtazi - Does he have an aesthetic thought and his point of view regarding the current Albanian artistic currents? At the Prague Biennale he participates as a curator; will it be possible to concretely decompose his selective concept into what in particular the Albanian and international art in this case the chosen artists offer? The fact that he had decided to also present his artistic work means that he sees himself in this mosaic representative of the values of contemporary Albanian art that is currently being created, or is the ineluctable aesthetic purpose of his concept of curator? Artan Shabani - In reality this is the first time that I take care of an exhibition of this kind in the art arena international. I also worked on other activities before, mamai of this level. I would like to underline a fact, which for me is the underlying theme of this important initiative. First of all I am an artist, precisely I am a painter.
Painting for me is not simply a profession, but it is really a passion that has inspired me since I was a child. For over twenty years I have seen the world with the eyes of the artist, or rather with the eyes of a painter. Hopiù of twenty years experience in the profession of the painter, therefore also the work of gallery owner, art collector and curator I have been practicing for a few years are a logical extension of my passion for painting, being also a good connoisseur of the world of visual art .
When I choose to work with specific artists, I select their art with the painter's emotion, but also with the eye of the professional who knows how to distinguish very good art from the less good one. This is probably my distinctive note in this important artistic initiative.
As for Albanian art in general, I honestly think that we really have excellent art and excellent artists. Our tradition of painting is really one
school of which we must not only be proud, but we must also meditate on to get inspiration.
Without going too far, I would like to mention the names of Ibrahim Kodra, Zef Shoshi, Omer Kaleshi, but also of others who continue to honor albanism in the international arena of visual art. I don't think the talents are over, but I think they will miss the appropriate structures to accompany these talents in such a way that they begin to sprout in all their figurative forms.
Arsim Kajtazi - What do you think our respective artistic-cutural institutions must do to make our culture be stimulated, developed and developed towards relevant international levels? Artan Shabani - First of all, structures must exist. In the past, although we often refer to the past for its negative aspects, despite all the state structures supporting art did not lack. A State and / or Nation to fully deserve this denomination, should work together to serve art and vice versa art with them. The links of art with the State and with power over time and space are well known. To be inspired, it is enough for our states to examine the state structures of neighboring countries, applying themselves modestly like them.
I really think that one of the main facts that will witness the end of this twenty-year transition, which is exhausting for Albania but also for post-war Kosova, will be the serious commitment of the state in the field of art. That is, when the latter becomes fully aware of the real national value of art, only then, will artists be able to fill their real role in our societies.
Arsim Kajtazi - What kind of professional and artistic structures should be shaped in Albania and in Kosova to enable us to present ourselves worthily with contemporary creative values in such international events? Artan Shabani - Many times I have expressed my opinion saying that it is difficult to give advice and messages well defined, since the models are now known and are also offered by our neighbors who have well understood the importance of their tradition and cultural continuity. It is not at all easy to enumerate the voids of your country, also due to the fact that the Albanians suffer from vital deficiencies compared to the luxury that arterappreaa first sight.
It must be understood that art is not at all a luxury, but it is a real need for longevity.
Nietzche said: "art is the only metaphysical activity in which we are obliged with life". The one who understands this message, especially in the national context, should not wait for advice, but should work concretely to carry out this nobility.
Translated by Brunilda Ternova
Follow Albania News on Google News