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Kultura

Agim Janina: The demolition of the Art Gallery has eroded the works for years, the sculptures have been mutilated and destroyed, the situation is screaming

Agim Janina: The demolition of the Art Gallery has eroded the works for years,

The National Gallery of Arts in its premises has exhibited the works of the fund. A rich fund of works, but for authors and art scholars the proper care for the exhibition has not been shown. Art researcher Agim Janina says the GKA is responsible for how the fund's works are exposed to the public. In the interview for the newspaper "SOT", the researcher Agim Janina, who has previously criticized the activity of the institution, says that a visit to GKA and you are filled with anger. Janina says that in GKA there are many fund works that are damaged, works of well-known Albanian authors. The researcher says that those sculptures have been mutilated and destroyed inside the walls of the gallery and it is an artistic crime. According to the researcher Agim Janina, these damages have been done over the years, but he says that the perpetrators who are alive can they restore the works themselves and without reward. In the face of these problems in GKA, the researcher Agim Janina says that a few days ago the new hall was inaugurated on the third floor, with paintings made after the '90s and some others made before, which according to him is very good. But he says those works did not have the author's name, the title of the work and the year of creation.

-You express your criticism for the activity of the National Gallery of Arts, but also for the presentation of the works of its fund to the public. What is worrying about you?

A visit to the National Gallery of Art and you are filled with an indescribable, insulting rage. The first word to explode from within and strike like a fist is, these have no respect! Sculptures pulled from the dusty fund, broken, mutilated as if coming from the prehistoric caves or after a devastating war. The portrait of the great linguist Aleksandër Xhuvani, a dignified work of the sculptor Andrea Mano, carved in marble, has been chipped and broken. Screaming situation for dignified works such as the composition of the sculptor Maksim Bushi "Kaba myzeqare", where the figures have broken their fingers and with this behavior is in danger of being damaged even more. The same is the work of Halim Beqiraj "Before torture" and "Spiro Ballkameni" by Fuat Dushku, while the work of Nelo Llukaçi, although carved in stone, so strong material one of the figures had his hands cut off and put on his lap. Further a border with the border dog, the latter has his face broken, turning him into a border cat. There are collected sculptures thrown on the ground like garbage or locked in cages as if they were wild beasts next to each other, without any possibility of seeing and enjoying and in the background large compositional pictures as if they want to give the background of the "battle" closed with butchers. Everywhere broken limbs, amputated arms and legs, one is exposed without a head, another with its head split in two as if a sword had fallen on it, another as if it had been sawn by an automatic and a series of heads lying on the ground as if in the chamber of shame. They look like surreal or maybe they are back! Maybe it occurred to them to do some installation entitled "Massacre in the gallery"! The viewer frowns, voices and tries to understand something, but his mouth is closed and nothing. Thing of the thing! Many of them have taken them as they are from the fund, where they vegetate for decades covered with all the dust and debris, and they have not even taken the trouble to remove a cloth from them and put their severed limbs on their laps or on the ground. Ironically, they talk about contemporary storage and exposure conditions! What is being done like this? We are not talking about their values. Maybe some of them should not even be there as poor work, but we are talking about the way of exposure and what is the reason they are exposed in this way. How is it possible ?! Thing of the thing! Many of them have taken them as they are from the fund, where they vegetate for decades covered with all the dust and debris, and they have not even taken the trouble to remove a cloth from them and put their severed limbs on their laps or on the ground. Ironically, they talk about contemporary storage and exposure conditions! What is being done like this? We are not talking about their values. Maybe some of them should not even be there as poor work, but we are talking about the way of exposure and what is the reason they are exposed in this way. How is it possible ?! Thing of the thing! Many of them have taken them as they are from the fund, where they vegetate for decades covered with all the dust and debris, and they have not even taken the trouble to remove a cloth from them and put their severed limbs on their laps or on the ground. Ironically, they talk about contemporary storage and exposure conditions! What is being done like this? We are not talking about their values. Maybe some of them should not even be there as poor work, but we are talking about the way of exposure and what is the reason they are exposed in this way. How is it possible ?! is this done? We are not talking about their values. Maybe some of them should not even be there as poor work, but we are talking about the way of exposure and what is the reason they are exposed in this way. How is it possible ?! is this done? We are not talking about their values. Maybe some of them should not even be there as poor work, but we are talking about the way of exposure and what is the reason they are exposed in this way. How is it possible ?!

-Si studiues i artit ju herë pas here keni reaguar dhe për problemet që sipas jush janë në GKA. Çfarë duhet të ishte bërë për veprat para ekspozimit?

Të gjitha këto skulptura janë gjymtuar e shkatërruar brenda mureve të galerisë dhe si të tilla jo që janë një akt vandalizmi, por edhe një krim artistik i pastër e gjakftohtë, kriminal dhe i dënueshëm. Institucioni duhet të mbajë përgjegjësi, duhet të hetohet e të dënohet. Disa prej tyre janë mbuluar nga suvaja dhe llaçi, që u ka rënë sipër kur është bërë ndonjë punim. Pse nuk restaurohen, kur ka autorë të gjallë dhe iu janë dëmtuar veprat dhe duan t'i restaurojnë vetë dhe pa shpërblim? Por askush nuk kujtohet për ta dhe as që i njohin e jo më t'i kenë përulësinë t'i thërrasin, t'u luten, t'u bien në gjunjë...Me kë flet! Shurdhëri vrasëse! Pak ditë më parë u përurua salla e re në katin e tretë, ku u shfaqën shumë tablo të realizuara pas viteve '90 dhe disa të tjera bëra më parë, larg frymës së realizmit socialist. Shumë mirë! Por si ka mundësi që të gjitha nuk kishin as emrin e autorit, titullin e veprës dhe vitin e krijimit! Ato nuk janë vepra anonime. Janë dëshmi të zhvillimit të artit pamor pas '90, të frymës së futjes së tij në rrjedha bashkëkohore. Paraqitja në atë formë është tejet fyese. Sado të përpiqesh e të vrasësh mendjen nuk gjen dot një shpjegim. Ndaj turp! Galeria Kombëtare e Arteve është kthyer në antikulturë! Çdo vepër në GKA është e fotografuar, e regjistruar, e kataloguar me emrin e autorit, titullin e veprës, vitin e realizimit, përmasat e saj dhe vetëm një mendje e mbrapshtë mund t'i ekspozojë për turp kështu.

-Përballë këtyre problemeve që ju pohoni, ju keni shprehur më parë që dhe vetë artistët nuk duhet të heshtin. Sipas jush si ndikon kjo?

 Edhe heshtja e komunitetit të artistëve është vrasëse. Rrënimi i GKA ka vite që gërryen veprat... Deri kur? Asgjë nuk mund të thuhet, kur mendon, që shpejt ato do të zhvendosen prej aty për të bërë rikonstruksionin e ngrehinës dhe atëherë masakra do bëhet e plotë. Terapia e shokut apo kthimi, më mirë rrënimi në kuotën zero, filluar me barbari primitive rrafshoi edhe studiot e Paskalit, Paços, Llazar Nikollës, Skënder Kamberit e shumë e shumë piktorëve e skulptorëve të njohur, ku veprat u vodhën, u grisën, u thyen, u shkatërruan si “Monumenti i Heroinave” të Mirditës, ikonografia u vodh dhe u shit, pa folur për kostumografinë apo veglat e rralla muzikore etj, etj., si të ishte mall pa zot. Flama shfarosëse përshkroi Muzeun Historik Kombëtar, sitet arkeologjike, galeritë në rrethe, institucione si Instituti i Lartë i Arteve, licetë artistikë në rrethe dhe kudo hotele, restorante, ku kishte vepra arti. Katalogu i botuar me veprat e humbura e të vjedhura është ulëritës. Por fatkeqësisht heshtje, heshtje, heshtje! Duket sikur në vend kaluan hordhitë primitive, që dogjën e shkatërruan Romën e lashtë, të kujtojnë djegien e librave nga nazistët apo shkatërrimet me top nga talebanët të pasurisë artistike botërore. Askush nuk ka mbajtur dhe nuk mban përgjegjësi! Dëmi në kulturë është tejet i madh, i jashtëzakonshëm, vlera të pariparueshme kanë humbur e zhdukur përgjithmonë. Dhe këtë mënxyrë nuk na i bëri askush tjetër veç vetes sonë. Është goditur rëndë identiteti artistik e kulturor i kombit.

-Në qëndrimet tuaja ju jeni shprehur dhe për problemet e studiove të artistëve dhe humbjen e veprave të artit ndër vite. Çfarë ka ndodhur?

Shkatërrimi i shumë veprave në Galerinë e Arteve Tiranë është njëra anë e turpit dhe krimit artistik, tjetra më e rëndë dhe më e dhimbshme është vjedhja e 98 veprave. Asnjëherë institucioni nuk ka qenë i pa ruajtur, asnjëherë nuk është sulmuar, as edhe në vitin e mbrapshtë '97 nuk hyri askush pa leje, siç ndodhi kudo gjetkë, ku u sulmuan, u dogjën dhe u grabitën, ç'ka dëshmon se vjedhja është bërë nga vetë institucioni. Nëpër galeritë e artit në Shqipëri, pa llogaritur grabitjet dhe shkatërrimet e studiove janë vjedhur piktura e skulptura të autorëve: Vangjush Mio, Sadik Kaceli, Guri Madhi, Vilson Kilica, Sali Shijaku, Zef Shoshi, Muntaz Dhrami, Kristaq Rama, Fatmir Haxhiu, Jorgji Gjikopulli, Hasan Nallbani, Ismail Lulani, Skënder Kamberi, Skënder Lako, Mustafa Arapi, Mira Kuçuku, Kristo Krisiko, Bashkim Ahmeti e lista zgjatet e zgjatet. Po ta hapim pamjen e të shohim një grabitje të llahtarshme të pasurisë së trashëgimisë kulturore. Është cënuar rëndë identiteti kombëtar, sepse pjesa kulturore është gjerdani i artë i tij.

Agim Janina: The demolition of the Art Gallery has eroded the works for years,