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Kultura

Adrian Devolli: We do not have a policy for art and what is happening is destructive, because artists are not stimulated

Adrian Devolli: We do not have a policy for art and what is happening is

The problems faced by artists cause them to express themselves from time to time with criticism and towards the institutions. The well-known painter Adrian Devolli says that it is disturbing that there is no proper policy for art. In the interview for "SOT" newspaper, the painter Adrian Devolli says that the policy for the development of art is a necessity. According to him, the Ministry of Culture does not play any role in the visual arts. The problem for the artist is the lack of criticism in art, where according to him there can be no artistic development without critical development. Painter Adrian Devolli says that criticism in art is what leads to values. In the artistic activity, the painter Adrian Devolli also talks about the creation of the group of artists "Muri". He says that "Muri" is the grouping of artists, that have come together to develop the activity in artistic life in the field of visual art, where the confrontation of values ??is very important. This year this group of artists brought the fourth exhibition since its creation. Painter Devolli says that an exhibition requires a great artistic commitment and is a big job. Devolli says that this year the participating artists were presented with two or three works in the fourth exhibition, which was opened to the public. Adrian Devolli, with his activity, is a participant in various exhibitions, where there were also personal ones where he presented his works to the public. The painter Adrian Devolli from 1979 to 1987 was a restorer at the Institute of Cultural Monuments, then from 1987 to 1991 he was at the National Art Gallery, where he dealt with many works.

 

- The artists of the group "Muri" brought the fourth exhibition this year. Various works, which were exhibited for the first time to the public. What do you think stood out this year at the exhibition?

The authors of the group "Muri" are all different in style and we have a much greater evolution of the artistic level. So we have an increase in the artistic level of all creators who are members of this group. This year, there were 11 authors at the exhibition, and one part had two works, while the rest had three works. But for me the problem is that the propaganda about art in our country is lukewarm.

 

-When you express this, what do you mean?

 

I bear in mind that an exhibition requires a great artistic commitment and is a great selfless work. In this selfless work, you don't have any publicity from televisions, you don't have any writings from people who should be critical of this work, for evaluations or not evaluations. Today we only have politics for politics and we don't have a politics for art. Art policy will be a necessity, because a time will come when our generation will disappear and there will be nothing left to talk about.

 

- This year, the group of visual art artists "Muri" opened a few days ago the fourth exhibition since its creation, where you were also its curator. Why was this artistic group created, which until now has brought several exhibitions to Tirana?

"Muri" is the grouping of artists who have come together to develop the activity in the artistic life in the field of visual art, where the confrontation of values ??is very important. In Albania, surprisingly, even though it was a dictatorial system, there was a newspaper "Drita", there was a critical opinion, there was a national exhibition where values ??were confronted, there was a commission that selected, 1700 people participated and 150 were accepted, there were prizes and the selection of artists was made from a group that were very professional and that is very important. Today, in general, personal exhibitions are held, which is a good thing, but it is not very significant, because the creator has to face the values ??of other creators. Only confrontation brings development. We don't have art criticism, but we only have table conversations that nobody needs. In this situation it was necessary to create a group, choosing artists who have some kind of artistic attitude. Make an exhibition with a conceptual painting. This type of conceptualization made by a group of artists makes it necessary for every creator to be very engaged before participating in the exhibition, because he will face his colleagues. This has been good for art, the artists themselves and society. It would be nice if there was a critic in art, but today we don't have much. We are back in a terrible time. There can be no artistic development without critical development. Criticism is what guides visitors to values, because people can like things that are trash. This type of conceptualization made by a group of artists makes it necessary for every creator to be very engaged before participating in the exhibition, because he will face his colleagues. This has been good for art, the artists themselves and society. It would be nice if there was a critic in art, but today we don't have much. We are back in a terrible time. There can be no artistic development without critical development. Criticism is what guides visitors to values, because people can like things that are trash. This type of conceptualization made by a group of artists makes it necessary for every creator to be very engaged before participating in the exhibition, because he will face his colleagues. This has been good for art, the artists themselves and society. It would be nice if there was a critic in art, but today we don't have much. We are back in a terrible time. There can be no artistic development without critical development. Criticism is what guides visitors to values, because people can like things that are trash. We are back in a terrible time. There can be no artistic development without critical development. Criticism is what guides visitors to values, because people can like things that are trash. We are back in a terrible time. There can be no artistic development without critical development. Criticism is what guides visitors to values, because people can like things that are trash.

 

- No works of art have been purchased from the National Art Gallery before to enrich its fund, various artists have expressed themselves from time to time, having also criticized the Ministry of Culture. How important is this to you and how do you see the situation today?

What happens in our country is destructive, because it does not stimulate artists. It doesn't give any kind of financial incentive and goes towards closing the art levels here. This kind of politics, where the Ministry of Culture will not know about any artist, that I don't know if those there at this age that I am today have ever asked or made a group with the artists to listen to the problems. The Ministry of Culture in our country is de jure, but de facto for me it is non-existent. The Ministry of Culture does not play any role for me in the visual arts. It is non-existent. How it exists or not doesn't matter to me at all, but that it shouldn't be like this. If the works were bought for the National Art Gallery here, who would evaluate them? There should have been critics by name in the commission. But they don't even want to buy the works of artists, they don't even want to stimulate this work. Because there is also a law, for example 4 percent of a business's taxes can go to art, but nothing is done here. This dislike leads the country to fatalities and the consequences are known. But it will be too late. If from the 90s until today, for example, 1700 students may have graduated, of which no more than 20-30 are working, while in our time it was over 50 percent in this profession, so today it is not even about 1 percent who work.

 

-What can you tell us about the restoration of the "Albania" mosaic on the facade of the National Historical Museum?

 

The mosaic has not been restored, but it has been cosmeticized.

-Why do you think?

The project is carried out with a great responsibility by the relevant institutions. The relevant institution is the Institute of Cultural Monuments, which bears technical, moral and legal responsibility for this work. The institution who made the project must speak about the project and it is approved by the scientific council of the institution. The scientific council together with the designer bear technical and legal responsibilities. It is not only the stones that hold it that is attached, but the iron that is inside, because at that time they knew that much. Being close to the surface creates rust and iron rust cracks the concrete, cracking the concrete will crack its surface. So she required a completely different intervention to save them. But they have done so and enjoy the cosmetics like anything that is done as soon as you pass the queue, and that's how it is. When a work is taken for restoration, the study is divided into two parts. Conservation and restoration. Preservation is to preserve it from spoilage. So it should be in a stage where it will not be destroyed and those with the mosaic have done conservation in this case. This is partial conservation. What is restoration? For restoration, in the present case it is a work that was done during the party in the 80s that had symbols like the star, etc., and are elements that were retouched sometime after 1990. They falsified the mosaic work. Those who did it those years falsified the work, because we are afraid of the truth, but fortunately there is documentation and how it was. In the specific case, the project had to turn the work into an identity. So putting the symbols as they were, because the forgery continues, does nothing but approve the forgery of the work. The documentation should have been done as it was. It had to be a work as it was with those symbols.

 

- The authors expressed appreciation for the work...

They do not know about this work, they are creators not restaurateurs.

-You have criticism for the Institute of Cultural Monuments, but how much has changed?

Improvements bring people. Tell me who are the employees there? What efforts do they make and what level are they? How many employees are there? How many employees does the branch of fresco iconography, restoration have? What scientific studies have they done?

 

 Interviewed by: Julia Vrapi