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Kultura

MAKSIM BUSHI: Artists face the indifference of institutions and it is difficult to open exhibitions, they left the National Gallery with the fund of communism

MAKSIM BUSHI: Artists face the indifference of institutions and it is difficult

Visual artists want more attention to be paid to their artistic activity. Well-known sculptor Maksim Bushi says that it is difficult to face the indifference of institutions and to open exhibitions properly. In the interview for the newspaper "SOT" the sculptor Maksim Bushi says that from the Ministry of Culture or GKA there is no national exhibition or competition, where "Onufri" that was once closed. According to him, in the face of this situation, the artists are trying themselves, to open exhibitions through various groups where many authors participate. Worrying for the sculptor Maksim Bushi is the fact that GKA is 30 years old, that it has not received work from the authors and by not buying works, the vacuum of these years has been created. The sculptor stops and the project that is being implemented for GKA, where he says it would be good to have a consultation with painters and sculptors beforehand. As one of the organizers of the "Spring Art" exhibition, Maksim Bushi says that even this year there were difficulties for its development. Works in painting, sculpture, mosaics and women were part of the exhibition, where according to him this year creativity has been growing. Maksim Bushi has sculptures and terracotta works in the National Gallery of Arts, as well as has won several national awards in his activity. In the years 1972-1989 he participated in all group exhibitions at the National Gallery of Arts in Tirana.-The exhibition "PranverArt" in the 13th edition this year brought together various artists, painters and sculptors. As one of the organizers, what can you tell us about this year's feeds? Creativity this year in the exhibition "PranverArt" has been growing. There have been some authors, who have brought more dignified work than other years, but that varies. But the most special is because this year the number of young people who participated in the exhibition increased. There have been some young people who promise in their works, especially sculptors, and their courage is not only in the smaller genders, like portrait or any relief, but go towards composition, a thought, a clear message. They get the courage as professionals almost experienced to be as close as possible to the contemporary concept of modeling a sculpture. The authors in the painting this year were presented with a work and this because of the location at the National Historical Museum, because the space was smaller than before, but the sculptors could also fall from one or two works, because they are placed in the hall , so are more managed in this view. The painters were obliged to do one by one, because that hall holds from 53 to 55 authors with one work each, because the whole linear side of the wall did not come out, it was full and we were forced to do one work at a time. These were the highlights of this year's exhibition.-You have been holding this exhibition for years in the hall of the National Historical Museum, where this year the works of the fund of the National Gallery of Art were placed and "PranverArt" was opened in the hall of the museum. How difficult has it been for you to develop this exhibition this year? We book the hall at the beginning of the year, where the "SpringArt" exhibition will take place. Although this year the lobby of the National Historical Museum has been more expensive than the hall, which we exhibited before. The day in the lobby is 10 thousand new lek. The exhibition lasted 8 days and for our conditions so much money is not little. We gathered some painters and sculptors and discussed, that we can not do the exhibition if we do not have any sponsorship or help at least from the museum. Why did you give up the application with the project of the exhibition "PranverArt", at the Ministry of Culture? We have removed from the application with this project in the Ministry of Culture, because we have not had confidence so far. But in the next edition I believe we will ask for help from the Municipality of Tirana. We will try to make the exhibition "PranverArt" part of the annual activity of the Municipality of Tirana, to have their exhibition with the group of artists, so that we can afford it every year. We do an annual act for Tirana every year and we do it in the hall of the National Historical Museum, we publish the catalog and we have been doing this activity for 13 years with difficulty and every expense. But if we do not face it together with the municipality, it can not be done.-Even this edition of the exhibition, you said earlier that it is a silence from the institutions, that no representative was present. What do you think this brings? We invite our own friends and colleagues to its opening. The National Historical Museum with the payment we make there for the placement of the works should be them, because we do it ourselves. The opening of the exhibition was announced through social networks. But this has already become a multi-year disease, it is not just now the indifference of institutions to artists. Indifference ? starts from not covering the budget fund for the exhibition, etc. Let's then think that the National Gallery of Art has 30 years, that has not received work from the authors. Exhibitions are opened and closed, but to set up a commission to look at the works of the authors. It seems to me that they have given up these practices and left the National Gallery of Art only with the fund of communism. By not buying works from GKA, the vacuum of these 30 years has been created. Or maybe they have taken some work that they know, while these other exhibitions look a little sideways.-The National Gallery of Art is no longer developing the activity, because it is in a reconstruction project. A director, who will later be in charge of GKA, what is his responsibility for this institution, that you have often expressed criticism of how it has worked for artists? A director is responsible for what happens with the activity of the Gallery National Arts. At GKA I think he has to be an art personality and a very good manager. An agile man, to be truly within that institution. Manage it well, propagate it. Do not keep works of art closed. I know that there will be a project for GKA, for restoration and expansion. But how it will be done we as artists do not know, nothing was consulted with painters and sculptors. We have not seen that project, to give an opinion, but none of the artists know how it will be done. It can be done very well as a project, but it would be good to have a discussion with us artists before. of Culture or GKA. What does this bring? We from the Ministry of Culture or GKA do not have any national exhibition or competition. It used to be the "Onfri" competition, but it also closed. Now there are groups of artists like the artists of "November", the group of artists "PranverArt", the group "Wall" or any other, who have made the first exhibition. There are other exhibitions, but they are held 2-3 times and then they go bankrupt. We with "PranverArt" this year made the 13th exhibition, we develop it every year and we make the catalog, as well as "November". But we should also have exhibitions and competitions from the institutions in the artistic life, but they should be realized properly.-How difficult is it today for a visual artist to develop-play the artistic activity? funds, facilities, should be paid and well managed and not every artist has the opportunities. But there are also artists who make them every year, because they also have the facilities. But sculptors have it not so easy, doing a sculpture exhibition is not so easy. -You are a sculptor who has been developing artistic life for years, winner of several awards, but how do you see public space and works of art today? There should definitely be more works of art. There are many facilities, new squares are being opened and always with the principle of competition, because sometimes they are not made with competition only when we see that x author did the work. We can work here too, but in those authors that are really guaranteed, because we are seeing that orders are being received and they are not coming out in the right quality. But above all it is these years there have been no competitions for park sculptures, for nga stones from the history of our people. There are so many years that are not being done. What can you tell us? Even those in the ministry do not put water on the fire, but we, with our indifference, do not even harass them at all, and this is a bad thing that is being done. . What can you tell us about the presentation of this year "Endless"? A terracotta work, is the endless that Albanians, we intellectuals and artists see that our country always goes endlessly for reforms, which are never ending. Europe is getting further and further away, but these all weigh on the citizen. We suffer, and we clean those shoes of oligarchs, multinationals or multinationals, and that's like a message. -Even this year in the exhibition "Spring Art" a work of yours stood out. What can you tell us about the presentation of this year "Endless"? A terracotta work, is the endless that Albanians, we intellectuals and artists see that our country always goes endlessly for reforms, which are never ending. Europe is getting further and further away, but these all weigh on the citizen. We suffer, and we clean those shoes of oligarchs, multinationals or multinationals, and that's like a message. -Even this year in the exhibition "Spring Art" a work of yours stood out. What can you tell us about the presentation of this year "Endless"? A terracotta work, is the endless that Albanians, we intellectuals and artists see that our country always goes endlessly for reforms, which are never ending. Europe is getting further and further away, but these all weigh on the citizen. We suffer, and we clean those shoes of oligarchs, multinationals or multinationals, and that's like a message.

Interviewer: Julia VRAPI