“Për Një Pasqyrim më të Thellë e të Gjithanshëm”: Nëntori, March 1986: Plenum of Albanian Union of Writers and Artists

This is the fourth in a series of posts containing PDFs of texts that may be of interest to those studying Albanian socialist realism (and 20th-century art in general, because socialist realism is some of the 20th century’s most intriguing art). Initially I had planned to write thorough descriptions and analyses of the content of the documents, but I barely have the time to scan them, much less write extensive commentaries. 

Nentori 3 1986

Today’s volume is an excerpt from the March 1986 volume of Nëntori, featuring the keynote address and excerpts from the discussions at the Plenum of Albanian Union of Writers and Artists held on January 27, 1986. The keynote address was given by sculptor Muntaz Dhrami, and is entitled “Për Një Pasqyrim më të Thellë e të Gjithanshëm të Realitetit Socialist në Pikturë.”

Of particular interest is Agim Faja’s ” Kërkesa më të Mëdha Ndaj Gjinisë së Peisazhit” [“Greater Expectations of the Landscape Genre”], where he argues:

The reflection of our socialist reality presupposes a full and beautiful interpretation of our new landscape, of mines, factories, work yards, and industrial complexes, of out new cities and our transformed nature. This interpretation must be all the more emotional, all the more diverse, executed with a deep artistic understanding. When the painter, like a true poet, chooses to depict simple motifs, studying and fully understanding the scope of nature, he brings [to his art] a fineness of detail, brings facts and original impressions. Even if he returns to the same motif, he always discovers new nuances. …The true artist never conceptualizes nature as an inorganic body. (44)

It is interesting to compare and contrast Faja’s ideas with another statement on the ‘landscape’ of socialist Albania, from more than a decade earlier, by Kujtim Buza in Përmendore të Heroizmit Shqiptar (1973):

Wherever one looks in Albania, one sees a landscape of stone, of marble, a landscape of bronze. It is the new landscape of the fatherland.

I think it is important to consider how these two landscapes reinforce each other, and work against each other, in the history of Albanian communist (and post-communist) art.

The Nëntori volume also includes Sterjo Spasse’s essay “Epoka që më Ndriçoi Udhën e Krijimtarisë [The Epoch that Lit My Creative Path]”, and a review of a retrospective show dedicated to the painter Sali Shijaku.

Happy reading!

 

 

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