Some Thoughts on Realism and Albanian Art

I simply wanted to draw forth from a complete acquaintance with tradition the reasoned and independent consciousness of my own individuality. To know in order to be able to create, that was my idea. To be in a position to translate the customs, the ideas, the appearance of my epoch, according to my own estimation; to be not only a painter, but a man as well; in short, to create living art—this is my goal.—Gustave Courbet, preface to the pamphlet Exhibition and sale of forty paintings and four drawings by Gustave Courbet, Paris, 1855

The following post is the first of two posts that address the question of ‘realism’ and ‘contemporaneity’ in contemporary Albanian art. These posts—perhaps more than what I usually write—are explicitly presented from the point of view of an outsider, because that is essentially what I am. I am neither an Albanian artist, nor an Albanian critic, nor an Albanian curator. I am a historian of modern and contemporary art in Eastern Europe, and I have focused a great deal on Albania, though primarily on its socialist period. The goal of these posts is not to offer some kind of objective critique, but to offer a few suggestions and provocations. Some of them, no doubt, would and will be roundly rejected by those who are critics, and artists, and curators, of Albanian art—and that is perfectly fine. I heartily welcome disagreement, or agreement if that is the case. The goal is simply to present a point of view. I hope to make it clear as I proceed the ways in which the point of view is narrow. However, I also hope that—at least in a few cases— these observations might present fruitful considerations for those who practice as artists, critics, historians, and/or curators in Albania and of Albania.

The posts are framed in terms of ‘realism’ and ‘contemporaneity’ for two reasons. The first is that, as a scholar of socialist realism, the question of ‘realist’ modernism(s) (or modernist realism(s)) is inescapable for me. It might also be a question that is of interest to artists and others working in Albania. The second is that my thinking about the issue of realism in contemporary art was further deepened by a recent post by Ardian Vehbiu on the blog Peizazhe të fjalës. The post dealt with the question of ‘contemporary art (arti bashkëkohor) and how it might remain relevant or regain relevance in the context of Albania today. A subsequent post by sound artist and electronic musician Ilir Lluka responded to the same issues. In both cases, it struck me that part of what seems to be at issue is the precise definition of ‘contemporary’ art—and while I by no means mean to answer this question, I’d like to raise at least a few propositions about what it might be. A further framing term is that of ‘kitsch’, which is raised in the first of the two posts and which seems to me to be crucial for nearly all debates on modern realisms and many debates on contemporary art. Finally, needless to say, I welcome responses—in English ose në shqip—and if any readers have lengthy responses in either language, I’m also happy to post them as individual guest posts.[1]

  1. Beauty, Kitsch, Realism

woman and tiger_bukuriaI was recently back in Tirana for a short time—a few weeks at New Year’s. Several mornings I had coffee at the same café, near the house I was staying in. The café’s interior was decorated with several pieces of digital art, printed in large format on unframed canvases hung as centerpieces on some of the café’s white walls. Calling these works ‘digital art’ is perhaps deceptive: these images were of the pseudo-Photoshopped variety so often found gracing the covers of cheap fantasy and romance novels published in the past decade: one showed a woman in a luxurious black dress weeping in a dark and misty forest, clutching a rose as her black makeup ran down her cheek, pining for a lost lover. Another featured a sorceress with an exotic headdress breathing life and fire into an orb of twisting metal tendrils held in the palm of her hand. Another—my particular favorite—showed a woman striding boldly and sexily along a dirt road towards the viewer while holding a tiger on a long silver chain at her side. A massive yellow sun set behind her and the landscape around the figures glowed in the vague, softly out-of-focus way that only digital manipulation can satisfactorily produce.

The pictures struck me for a number of reasons. First of all, they presented precisely the kind of apparently neutral visual content that attempts to reach as wide an audience as possible, and yet does not appear to say very much. Their colors were bold; their lighting was dramatic. The women were sexy. The images projected mystery, tragedy, sorrow, the slightest taste of danger, pleasure. Perhaps most significantly, the images simultaneously occupied two distinct space. One the one hand, they seemed quite typical of recent Albanian urban visual culture (I have seen many similar images in cafes around Albania); they seemed very much to reflect a set of ideas about desire and image that, in my own experience, seem to be prevalent in Albania. On the other hand, the images were completely disconnected from the Albanian context—they were the kind of pictures one can and does see anywhere (I see them whenever I open Facebook, whenever I watch a movie in America, whenever I go to the mall). Absolutely nothing about them suggested that they were created in Albania, and even if they were, they would have instantly transcended the specificity of that space. This was the beauty and the power of their undeniable kitschiness—the way they both seemed to reflect a very specific aspect of current visual culture and values in a particular place, and at the same time seemed so completely unmoored from that place, so general, so correspondingly vacuous.

I was glad that I saw these images early on in my short stay in Tirana, because they reminded me of a few things that I tend to forget when thinking about art in Albania. The first is the degree to which beauty very much continues to exert an amorphous yet undeniably ubiquitous influence over debates on both art and mass (visual) culture. The images were affecting—despite, or perhaps because of, their emptiness—not so much because they asserted a strong definition of the beautiful but because the part of them that belonged to their context asserted the relevance of the debate over beauty, over the aesthetic. No less thoughtful a critic than Hal Foster famously questioned—in the late 80s—whether one of the defining elements of the postmodern condition was its anti-aesthetic character, the way it seemed to place the question of aesthetic experience firmly in the past, in the project of modernity. Nowadays, it seems quite clear that if the postmodern was indeed a period or a style defined by a rejection or transcendence of the aesthetic, then we have now left behind the postmodern and entered something else (the contemporary?). A more reasonable explanation is that the postmodern never really overcame the aesthetic—it never left, and its categories are every bit as relevant now as they have ever been, even if we remain uncertain about how they affect us. Of course, from a critical point of view we might agree with how Foster once framed it: the aesthetic can no longer be assumed as something ‘outside history,’ as a purposeless and ideal form of experience. However, the aesthetic would seem to continue to make precisely that claim for itself—at the very least, we must admit that it is every bit as necessary to struggle to historicize the aesthetic now as it was 30 years ago.

The struggle to historicize the aesthetic is, I think, something other than the attempt to overcome the aesthetic, and this is why I think it is unfortunate that Foster called his (now definitive) edited collection of essays the ‘Anti-Aesthetic’. The aesthetic is something that I think we should all be content to work within, whether we are historians or artists or both. Furthermore, I do not imagine that—in the context of Albania today—we can say very much without acknowledging the degree to which aesthetic experience—and that of the beautiful in particular—is marshaled as a political and social discursive framework. Furthermore, it is a framework that transcends political divides—as often as Edi Rama or Erion Veliaj assert that beautiful art will make a better and more civil population, their opponents (myself included) assert—on the basis of taste, that most modern/ist of all standards—that their interventions are not beautiful but rather, ugly.

So, then, my first provocation for a contemporary Albanian art could very well be this: historicize the aesthetic. Tell the history, show the history, consider the history of the beautiful as a mode of judgment in Albanian society. The question of the beautiful is, in the Albanian case, a decidedly concrete question. It is a matter that is rooted in discourse, certainly, but also in the phenomenological encounter with both urban and rural Albania. Put simply, the question of beauty is a serious one that everyone encounters when discussing Albania, and it need not be avoided simply because questions of beauty seem too closely linked to an apparently outdated modernism, or to a conceptually and emotionally empty mass culture. Far from it.

Because there is something about the notion of beauty—its mass appeal, no doubt—that suggests a decisive element of kitsch, let us consider kitsch for a moment, and move through it to the idea of realism. One of the passages that particularly struck me while reading Ardian Vehbiu’s post on the state of contemporary culture in Albania was the following assessment: “Thus, each work of art presented for mass public consumption simultaneously metabolizes two traditions: that of its own genre, or the tradition inherent to the sphere in which it is created and exists; and that of contemporary art, sophisticated, and elite(/ist). A sculpture placed in a public space cannot reproduce the language of sculpture as it existed during the 18th and 19th centuries, rejecting the stylistic transformations of subsequent periods up till today. Likewise, such a work cannot loyally imitate the template of modern or postmodern art while completely rejecting the expectations of its public. Unfortunately, both of these mistakes have been made in Albania: either the public is given works that are completely kitsch, works that look as if they were conceived and carved in the time of Louis XVI; or the public is given works that are kitsch in yet another sense, works that use modern art’s language of abstraction, a language the public does not know—and thus the public eventually uses them as urinals.”[2]

This passage contains several points related to the issue of contemporaneity, but for the moment I want to pay closer attention to the issues raised about kitsch. The problem, as I see it, is that this passage suggests that kitsch is something to be avoided in contemporary Albanian art, that the kitschiness of works of art condemns them not only to art historical irrelevance but also, depending on what kind of kitsch they are, to popular irrelevance. For me, this is problematic. Of course, my viewpoint is quite different: as a historian (and particularly as a historian of a region that remains ‘peripheral’ in most histories), I am not particularly concerned about whether the art I study is ‘kitsch’ or not—which is another way of saying I am not interested in whether it is ‘good’ or not. For Vehbiu, part of the issue is to return attention to the importance of ‘genuine’ or ‘proper’ art (arti i mirëfilltë), an art that suffers from public indifference in Albania. For me, the division between such a ‘genuine’ art (associated with the avant-garde, in this case) and mass-cultural kitsch risks implying that one is more valuable than the other from the point of view of historical understanding. It is my conviction that kitsch teaches us very important things about who we are and what we are, and the ubiquity of kitsch demands that we understand it better.

Now, I am certainly not attributing to Vehbiu the assertion that we should stop trying to appreciate or understand kitsch works of art; that is not at he point of his post at all. However, there is a way in which relying on the division between kitsch mass culture and a more authentic (avant-garde or otherwise) kind of art parallels an analogous division within the historical and critical assessment of art, a division that I think obscures more than it reveals. The division, as James Elkins puts it nicely in Art and Globalization, is that between art that tries to act primarily as an aesthetic phenomenon and art that is anti-aesthetic and thus perceived to be more radical.[3] Obviously, this distinction is different than that between kitsch and avant-garde, but in both cases there is a line drawn between art that conforms to a certain set of expectations (aesthetic ones, ‘popular’ ones) and art that challenges the norms, an avant-garde or radical art. Elkins, following Benjamin Buchloh, points out that this division is both too easy and a bit of a dead end: it presumes that when we study art (or critique art, or make art) we are primarily just looking for the means to resist X (capitalism, globalization, mass culture, etc.) As Elkins says, “We could spend an equal time with contemporary international art that is unreconstructed, celebratory, nostalgic, ‘amnesiac,’ as Buchloh puts it, aestheticizing, retrospective. For me, this is the function of an economic or sociological analysis: otherwise we are mining the phenomena of globalization in order to create the strongest possible resistance, rather than trying to understand the generative conditions, the current states and processes of globalization” (2-3).

To me, it is not just a matter of performing a more thorough economic or sociological analysis, although that is certainly necessary. It is also a matter of recognizing that the lines between mass culture and various types of art practices (‘unreconstructed’ and otherwise) are mutually (re)constructing. From a historical point of view, this means that it is fairly unhelpful to focus on artists who are perceived as pushing the boundaries at the expense of artists who continue to practice within relatively stable conventional categories. Likewise, it means it is fairly unhelpful to focus on avant-garde practices as if they could exist solely in opposition to kitsch, when in fact they at least as often function alongside it, with it, and through it. I suppose that the second provocation to Albanian contemporary art, art history, and criticism would be: one shouldn’t allow the search for a means of resistance to prevent one from engaging with the concrete realities of the situation.

And so we come to the question of realism. I recently read Sabine Eckmann’s admirably succinct essay in the catalogue for New Objectivity: Modern German Art in the Weimar Republic, 1919-1933, and was reminded that no less a luminary of early debates on postmodernism than Jean-François Lyotard wrote, in 1982, that “Realism, whose only definition is that it intends to avoid the question of reality implicated in that of art, always stands somewhere between academicism and kitsch” (75).[4] Now of course, the realism I am about to try to make a case for is not the kind Lyotard is dismissing—but it is first necessary to point out that Lyotard’s dismissal of both kitsch and academicism is already problematic, in that it assumes that practices falling into these categories have nothing to tell us about the world we live in. Perhaps—perhaps—a case could be made that academicism has relatively little to say about the present conditions of cultural production, but it has become one of the defining features of kitsch that it comments endlessly on itself and its appeal. Furthermore, Lyotard’s definition of realism is clearly drawn from socialist realism and National Socialist neoclassicism, and he believes that because these art constellations attacked the avant-garde, they were not critically engaged with the conditions of reality.

There is a long argument to be made here; I frankly think Lyotard is simply wrong about certain historical kinds of realism. The argument can be partially bracketed, however, because Lyotard is ultimately speaking about the present, and I want to speak about the present as well. But: we will not have a very robust view of art in the present if we insist that the art of the past was naïve and disengaged from the world. Perhaps a better question would be: why would we ever assume that realism (or Realism(s)[5]) were incompatible with the avant-garde? What kinds of realism in history have actually “intend[ed] to avoid the question of reality implicated in that of art”? No doubt there are some, but we may say: relatively few. Socialist realism was certainly not among them—it was very deeply concerned about the question of reality implicated in that of art; indeed, that was one of its primary foci. So, contrary to Lyotard, isn’t realism in fact one of the first approaches to art to question both the nature of reality and the relationship art could have to it? And isn’t that project something that seems vitally necessary in the current moment?

As Eckmann points out in her essay, Realism as it was first practiced in 19th-century France (by Courbet) was precisely not about the uncritical use of established aesthetic conventions; it was instead “devoted to a new and unfamiliar form of depicting the world” (33). This involved both creating new iconographies and subject matter as well as mobilizing new aesthetic categories and formal devices. And yet, the consensus was for some time—and in many cases still is—that after the end of the 19th century, r/Realism never again held these functions. (Of course, even by seeking for these ‘radical’ or ‘avant-garde’ functions, we are falling back into the kind of trap I outlined above, whereby we first divide art into ‘radical’ or ‘not-radical’ and pursue a deep historical or critical investigation only of the former.) However, as Eckmann also points out, recent critical approaches and revisionist histories of various 20th-century and contemporary art have identified new genres, movements, and styles with the idea of ‘realism.’ One of her key examples is Okwui Enwezor’s discussion of political realism, the documentary, and vérité.[6]

Another example, one Eckmann does not mention, would be Alex Potts’ recent (and perhaps overly ambitious) attempt to re-survey much of the canon of postwar Western art—including not only Art Brut and Nouveau réalisme but also Pollock’s abstraction—under the rubric of ‘modern realism.’ For Potts, realism and abstraction “should not be seen as opposing and mutually exclusive polarities but, rather, as existing in a dialectical relationship with each other” (1). His goal is essentially to reclaim (a bit late, it would seem to me) the idea that much of the work produced in the postwar period is importantly “not just of the world, as the pure modernists would have it, but it is also about the world” (1). In other words, a realist work has “world-referencing” elements—and it is certainly undeniable that much postwar art has such elements (46). However, what Potts means by modern realism is an art that does not simply mirror the world (naturalistically, let us say), but one that is “committed to achieving a defamiliarizing of the phenomena it reference[s] or invoke[s]” (27). For this reason, Potts does not consider—to take one example—socialist realism (or even, really, social realism) in his survey; he does not believe that it complicates our relation to reality enough. In other words, he shares Lyotard’s assessment of socialist realism, “that it intends to avoid the question of reality implicated in that of art.”

Now, there are certain things I would like to take from Potts’ definition of modern realism, and certain things I would like to jettison. On the one hand, I think his definition of realism as—essentially—any art that is about the world, is too broad.[7] However, I want to retain Potts’ willingness to treat even ‘abstract’ art as ‘realist’ in certain historical circumstances. Abstraction can be a quality of the world as much as it can be a quality of transcendental realms and forms.

On the other hand, however, I think Potts is too reductive in treating certain kinds of figurative realism as too naïve in their ‘mirroring’ of the world. Why should we assume that extremely ‘mimetic’ forms of art have an uncomplicated relationship to reality? And, why should we assume that the only critical process available to realism art is that of radical defamiliarization of phenomena?[8] I prefer a definition of realism closer to that adopted by Eckmann in her discussion of the New Objectivity: “Realism signifies an artistic focus on the visible[9] world that is articulated through mimetic methods. Yet realism, in contrast to naturalism, does not imply an exact replication of reality, nor is it measured in terms of the degree to which it resembles the real.[10] It doesn’t necessarily accommodate truth to nature. Rather, realism entails questioning and inquiring in to the nature of the real to reveal truth, or vérité” (30). Now, there is no claim on my part (or Eckmann’s) that the ‘truth’ needs to be singular, only that it is tied to an actual experience of the world.

Here, I hope, I have tied up at least one dangling thread from the discussion of beauty above. My claim is this: no matter how much we wish to claim that, in postmodernity, we no longer believe in ‘experience,’ I think this claim is demonstrably false. It is demonstrably false because at least one kind of experience, aesthetic experience, has remained an important element of both modernity and postmodernity (or contemporaneity—I don’t feel like I am yet in the position to debate this distinction). Our understanding of our selves and our environment is still strongly influenced by our understanding of sensory perceptions, our desires related to them, and our attempts to restructure them—this is true as much in art as in other fields of life. Thus, at the very least, a realist art would be one that undertook an investigation of the actual conditions of our aesthetic categories, either in the realm of kitsch mass culture or high/avant-garde culture. In the specific case of Albania, as I’ve noted, the investigation of the category of beauty would be one quite ‘realist’ object of artistic investigation.

There is another element to r/Realism that I would like to introduce before I undergo what will no doubt be an unsuccessful attempt to satisfactorily bring together all the strands of my thought on the possibilities a contemporary artistic realism might offer in the Albanian context. Realism—at its inception, in the 19th century—did not simply turn to its present surroundings as a subject matter by chance. As Linda Nochlin argues in her seminal study of the movement, the rise of Realism coincided with a new vision of history (23-33). History was no longer exclusively the realm of history painters, who dealt with the great deeds of antiquity; it became the realm of genre painters. In turn, these genre painters were no longer attempting to depict a timeless kind of ‘everyday life,’ but began to seek for the traces of historical understanding and historical structures in that everyday life.

In a recent post, I discussed Gëzim Qëndro’s book Heronjtë Janë të Uritur, and the possibilities it offered for using the search for ‘realism’ in art as a critical method. One of the most interesting facets of Qëndro’s study, from my perspective, is the way it explicitly understands realism not so much as a style but as a kind of historical consciousness. True, I think Qëndro in fact pays too little attention to the visual aspects of the (realist?) painting he discusses, but I do think he convincingly draws attention to the way that realism is tied to an explicitly historical mode of understanding the world in 20th-century Albanian history. That is, Qëndro’s quest for realism draws our attention to the role art can play in relation to history. This would be perhaps my most assertive provocation for Albanian contemporary art: How can Albanian art help us achieve a more nuanced historical understanding of the world (or ‘reality’)? This is not to insist that art try to turn itself into history, nor to imply that all contemporary art must be, first of all, about history.[11] However, it is to insist that one of the most important projects of a contemporary Albanian art should be the attempt to reveal, to understand, to clarify, and to challenge the present moment as the outcome of historical processes. This kind of confrontation with the present is something that r/Realist art—broadly construed—has always attempted, and for this reason it seems to me that realism is one approach that would serve artists in Albania today well.

Before I conclude by saying a bit more about the challenges that face any historically conscious model of realist contemporary art, let me say how the earlier discussion of kitsch fits into this model. Of course, in some ways, the discussion of kitsch was simply a way to move from Vehbiu’s insightful thoughts on the challenges facing contemporary art and culture in Albania. My attempt to assert the need for a more nuanced understanding of the relation between avant-garde and kitsch in contemporary culture was in part meant to introduce the notion that realist art is an art that many have dismissed and some continue to dismiss as kitsch (because it is figurative, because it is mimetic, because it sometimes has broad popular appeal, and so on); and yet realism turns out to much more critically relevant than the term ‘kitsch’ implies. But that isn’t everything. I also think it is important for contemporary art to conceive of itself as kitsch as much as it conceives of itself as avant-garde, and this is—I think—particularly the case for a realist art. All art, no matter how radical, ultimately performs (in certain contexts and for certain audiences) the project of familiarization and repetitive conformity that kitsh (broadly speaking) performs.[12] The key—and this is where a self-consciously realist sentiment is beneficial—is to for art to investigate where and why and to whom it produces the effect of familiarization, or conformity, or comfort. Ultimately, this is neither a very radical, nor in any way an original. To me, the realist approach to art and aesthetics asserts the following: the point is not to try to produce ‘art’ as opposed to ‘kitsch,’ but to produce art that is more aware about when and where it might become kitsch, and when and where it might remain ‘art.’

Of course, this brings us back again to Vehbiu’s observation that artworks can be considered kitsch in different ways, and that every work of art operates in (at least) two contexts: its own artistic tradition or historical genre, and the expectations of its public. These two contexts have different histories, and understanding how these two histories come together in the work of art is a duty that artists, historians, and critics must collectively shoulder. It is not, I think, a burden that is frequently shouldered in discussions of Albanian art, in exhibitions staged in Albania, in Albanian artist’s writings on their works, in the writings of foreign scholars and curators on Albanian works.[13]

During my recent visit to Albania, I only visited two exhibitions. One of them was the Onufri XXI show at the National Gallery of Arts. I did not spend as much time as I should have with the show, and so if I seem to condemn it in what follows, that is no doubt partially my own fault. This year’s Onufri was curated by the duo VestAndPage (artist Verena Stenke and artist/writer Andrea Pagnes), and it was devoted to the idea and medium of glass (hence the show’s rather lengthy subtitle “SiO2 – The Reason of Fragility, How Do We Spell The Word C-A-R-E When Staring At Glass?”). To be frank, I did not understand the exhibition. It seemed, to put it bluntly, eclectic in the pejorative sense of the term—it contained a number of works that related to each other (in terms of their shared engagement with or use of a particular material, glass) that at first seemed related but ultimately revealed themselves to have little to do with one another. There are, no doubt, a number of reasons the exhibition as a whole escaped my understanding. However, the reason that is most salient for my current discussion is this: the show did not know how to bring together works that spoke primarily about the history of art as a broad (Western) phenomenon, and works that seemed to speak more directly about the historical (contemporary) Albanian context.

This failure is significant because—according to the organizers—they were seeking precisely to avoid aestheticism and produce “a vision of the essence of reality”:[14] “In fact, the artistic image of the world cannot be adapted or compared to purely cognitive rational paths, because it represents a way of appropriation of the world that, in its specific and unique form, is possible only in the artwork. It is after bearing these considerations in mind that we can understand how a material such as glass – for its linguistic, symbolic and metaphoric potential and the intrinsic properties of fragility, transparency and resistance – is the most appropriate to indicate that an intuitive knowledge of art escapes any ‘correctness’ criterion, as its difficulties – its beauty – must be conquered by intuitive thought, and therefore must be realized as a result of a “vision of the essence.” It is exactly this concept that the exhibition aims to communicate, since in any way it may be judged, the experience of a vision of the essence of reality leads to a thought that art is not limited to the unsullied pleasure of pure aesthetic contemplation, but it is capable of generating a powerful reflection and consequent awareness on the multiple dimensions of meaning that are behind the human thought itself.”

In fact, the exhibition seemed to be organized very much in line with the vision of material(ist) modern realism that Alex Potts describes—the curators believes that by framing the exhibition around a material, the works included would somehow automatically constitute a critical engagement with reality (or ‘the world’). And to ensure that this was framed historically, they included works that belong to a broader history of Western and global postwar art—works that read as belonging to art history (Abramovic, Kosuth, Yoko Ono, and so forth). In this sense, it was helpful that Armando Lulaj’s The Large Glass framed the entrance to the exhibition, since it framed the show in reference to a work that belongs to the canon of Western art history. Yet, within the exhibition itself, the link between two (clusters of) histories—one a global history of artistic practice, the other a relatively localized history of Albanian ‘reality’—felt conspicuous by its absence. It was not only the weakness of the curatorial text, or the way that even the most ‘conceptual’ works were expected to hold their own as aesthetic phenomena. It was primarily the way that the show did not seem to take seriously the need to understand how these histories might or might not relate.

The two works that I felt most drawn to in the show both dealt with the same subject matter—and it was slightly strange that two works dealt with the same theme. Ermela Teli’s video and multimedia installation Glass, a weapon! (2015) and Sead Kazanxhiu’s mixed media installation On the Wall (2015) both dealt with a common feature of home architecture in Albania: the practice of cementing pieces of broken glass to the top of garden walls in order to prevent intruders from climbing over them. Facing each other across one of the gallery’s rooms, these two works seemed to be the most directly tied to everyday life in Albania.[15] And yet, at the same time, the gap between these works and works belonging more directly to a general history of art (say, Lawrence Weiner’s Impacted to the Point of Fusing Sand into Glass) seemed absolute.

Ermela Teli, Glass, a weapon!, 2015, installed at Onufri XXI
Ermela Teli, Glass, a weapon!, 2015, installed at Onufri XXI
Sead Kazanxhiu, On the Wall, 2015, installed at Ounfri XXI
Sead Kazanxhiu, On the Wall, 2015, installed at Ounfri XXI

Perhaps I like my art a bit too literal, but what appealed to me about both of the works in question (Teli’s and Kazanxhiu’s) was the fact that the looked like something I had seen during my time in Albania,[16] they referenced a structure of the environment that I encountered several times. Furthermore, they were the works that made me think most about my encounter with Tirana afterwards. I found myself looking at the way people had installed glass on the walls around their gardens, observing the density of the glass fragments, their color, wondering what kinds of vessels they had broken to produce the glass, wondering who was really deterred by the glass in the first place, wondering how long it would be before each of the walls I had seen with such glass on it would be leveled along with its house in order to construct some new apartment building that needed no such defense against incursion. And at the end of the day, this thinking seemed much more productive to me than a lengthy consideration of Weiner’s Impacted to the Point of Fusing Sand into Glass.

What I craved most as I was wandering through Onufri XXI was a work of art, a text, anything that would tell me something about “the essence of reality” in Albania today, and about what the essence of that reality might have to do with local histories, with individual histories, with global histories. That, I imagine, is the task that a Realist artistic practice would set for itself. Of course, there are many kinds of art-making, and most of them do not need to have anything to do with this task. However, I find it hard to imagine how an art that called itself ‘contemporary’ could dispense with such a project.

 

Books Cited:

Foster, Hal, ed. The Anti-Aesthetic: Essays on Postmodern Culture. Port Townsend: Bay Press, 1983.

Eckmann, Sabine. “A Lack of Empathy: On the Realisms of the New Objectivity.” In New Objectivity: Modern German Art in the Weimar Republic, 1919-1933. Exh Cat. LACMA, 2015. pp. 27-39.

Elkins, James, Zhivka Valiavicharska, and Alice Kim, eds. Art and Globalization. University Park: Pennsylvania State UP, 2010.

Enwezor, Okwui. “Documentary/Verite: Bio-Politics, Human Rights and the Figure of “Truth” in Contemporary Art.” Australian and New Zealand Journal of Art 5:1 (2004). pp.11-42.

Lyotard, Jean-Francois. “Answering the Question: What Is Postmodernism? [1983]” In The Postmodern Condition: A Report on Knowledge. Manchester: Manchester UP, 1984. Pp. 71-84.

Nochlin, Linda. Realism. New York: Penguin, 1971.

Potts, Alex. Experiments in Modern Realism. New Haven: Yale UP, 2013.

Notes:

[1] I’ve only done this once before, and it strikes me it would be fun to do it again. So please feel free to write long responses and contact me if you’d like to post them as entries in this blog, instead of just comments. Comments are of course also encouraged.

[2] “Kësisoj, çdo produkt artistik që ofrohet për konsum masiv metabolizon njëkohësisht dy tradita: të zhanrit të vet, ose të traditës brenda sferës ku vepron; dhe të artit bashkëkohor, të sofistikuar, elitar. Një skulpturë që vendoset në një vend publik nuk mund të riprodhojë gjuhën e këtyre veprave të përpunuar gjatë shekujve XVIII-XIX, duke shpërfillur gjuhën e re skulpturore të përpunuar më vonë e deri në bashkëkohësi; sikurse nuk mund të ndjekë besnikërisht shabllone të artit modernist a post-modernist, duke shpërfillur pritjet e publikut.

Për fat të keq, të dyja këto shmangie kanë ndodhur në Shqipëri – ku publikut i janë dhënë ose vepra totalisht kitsch, që duket sikur janë konceptuar dhe gdhendur në kohën e Luigjit XVI; ose vepra sërish kitsch, por që përdorin gjuhën abstrakte të artit modernist, të cilën publiku nuk e njeh dhe as e vlerëson; prandaj edhe qëllon pastaj ta përdorë si urinore.”

[3] When I say the division is analogous, I mean that the two forms of kitsch Vehbiu identifies are, essentially, forms of culture that rely heavily on aestheticization—whether it is a nostalgic aesthetic that longs for the ‘high’ art of the past or a (post)modern(ist) aestheticism that ignores the public taste in its claims to universality. It seems to me that Vehbiu is calling for an art that would counteract these two forms of aestheticization, and in this sense the dichotomy he outlines is similar to that between uncritical aestheticism and radical or critical anti-aestheticism.

[4] It’s always refreshing when famous thinkers say things that, in retrospect, turn out to be so completely misguided.

[5] Elsewhere in this essay, I sometimes write “r/Realism” to indicate that artists and critics may take realism to be a general term for a particular approach or as the proper name of a style/movement. For me, it is not particularly important that it be one or the other—more often, I believe, it should be thought of as both.

[6] As Enwezor puts it, “Vérité has been defined as: truth. But also it refers to lifelikeness, a trueness to life. In the latter definition it is predisposed towards mimeticism. For example, in French, vérité also means to strive to be true to life in art: s’efforcer a la vérité en art. Similarly vérité refers to realism to real life, naturalism, authenticity, pragmatism, verisimilitude” (34).

[7] For Potts, this definition allows a more materially-focused re-assessment of certain forms of abstraction, since materials are by definition part of the world, but I don’t think this helps us much in the present context.

[8] Of course, Potts is not speaking about the immediate present. However, I would argue that—given the pervasively ‘defamiliarizing’ effects of late capitalism in much of the world today—it is just as easy for art to be both ‘uncritical’ and radically ‘defamiliarizing.’ In some cases, making the world familiar again is a first step that art can undertake in order to provide us with means to deeper engagement with our surroundings.

[9] I myself do not think the focus needs to be necessarily only on the visible world alone, but I would not equate the ‘invisible’ would with the spiritual realm, as some earlier forms of abstract modernism did. Rather, I think it is entirely ‘realistic’ to assume that there are material realities that we cannot see, and that realist art can attempt to mimic those material realities in a number of ways.

[10] Potts, on the other hand, dismisses certain kinds of realism as retrograde because he does judge them on how much they resemble reality. He believes they resemble it too closely.

[11] However, for reasons I’ll discuss in a subsequent post, I think it is difficult to conceive of an art that is truly contemporary and yet sets aside historical investigations. After all, as Nochlin writes, it was the Realists who first demanded that art concern itself with contemporaneity.

[12] Calling something kitsch, or referring to it as mass culture, is not primarily asserting that the object in question is different in kind from an art object. It is asserting that it produces particular kinds of effects among certain (‘popular’) audiences/consumers more often than it produces those effects among others.

[13] Of course, this is the case in many places, but here I am speaking primarily about Albania. It is of course also unfair to suggest that this kind of thoughtful evaluation never happens—I am happy to say that sometimes it does. But not as often as I would like. Hence this post.

[14] The English translation is that of the National Gallery or the organizers, not mine. The Albanian, from the Gallery’s website, is as follows: “Në të vërtetë, imazhi artistik nuk mund të adaptohet apo të krahasohet me shtigje të thjeshta logjike e racionale, sepse përfaqëson një mënyrë të përvetësimit të botës që, në formën e saj të veçantë dhe unike, është e mundur vetëm brenda veprës së artit. Përsiatjet e mësipërme janë të domosdoshme për të kuptuar se një material si qelqi – për potencialin e tij gjuhësor, simbolik dhe metaforik, krahas vetive të tij kompozicionale të brishtësisë, transparencës dhe rezistencës – është mëse i përshtatshëm për të treguar se njohja intuitive e artit i shmanget kritereve të korrektësisë, dhe se vështirësia e tij – bukuria e tij – duhet të kapet nga një mendim intuitiv, e si rezultat të realizohet si një “vizion i thelbit të realitetit”. Është pikërisht ky koncept që ekspozita ka për qëllim të komunikojë, sepse në çdo lloj mënyre që gjykojmë, përjetimi i një vizioni të thelbit të realitetit të çon në mendimin se arti nuk është i kufizuar vetëm tek kënaqësia sublime e mendimit të pastër estetik, por është i aftë të gjenerojë një reflektim të fuqishëm dhe ndërgjegjësim të mëtejshëm për dimensionet e shumfishta të kuptimit që janë përtej edhe vetë mendimit njerzor.”

[15] Of course, I’m speaking here of my life while there…but I was drawn to these works precisely because, every day as I walked home during my two weeks in Tirana, I passed homes with just such conglomerations of jagged glass installed atop their garden walls.

[16] They weren’t, of course, the only works in the show to do this. But they did seem to me to be the two that made this reference most explicit.

One Bunker After Another

The order is not rationalistic and underlying, but is simply order, like that of continuity, one thing after another.—Donald Judd, “Specific Objects”

The fortification, once an object, tended to become a “subject.”—Paul Virilio, Bunker Archaeology

Recently the question of the bunkers returned with a vengeance in Albania, and indeed now it is beginning to seem that it never really left. It is almost certainly the case that the frequent, if unsystematic, documentation of the bunkers, together with commentary on them and attempts to appropriate them in various ways all play into an unfortunately all-too-common brand of post-socialist Orientalizing (especially when this commentary and documentation comes from the West). The bunkers are easy ruin porn, and they lend themselves straightforwardly to generalized collective psychological diagnoses about the mentality of peoples that once lived ‘under’ communism—that is in fact precisely what the phrase “bunker mentality” is able to convey.[1] However—despite the fact that many of the Albanians I have met who live outside of Tirana largely regard the bunkers as something to be forgotten or something to store tools in—it seems that the bunkers remain strongly contested in their political, metaphorical, and aesthetic relation to Albania’s past.

To (very) briefly recap:[2] over roughly a ten-year period beginning in 1972, Enver Hoxha, Albania’s socialist dictator, ordered the construction of approximately 750,000 dome-shaped concrete bunkers throughout the entire country. Ostensibly built to shelter the population and provide defensible structures in case of a foreign invasion, the bunkers effectively served as an ever-present reminder of the regime’s paranoia—and continue to do so today, since a large number of them remain in situ. This number is shrinking, thanks to both the landscape itself (which is gradually displacing, upending, or covering over many bunkers) and the concentrated efforts of individuals and companies (many of them foreign, as I understand it[3]) to destroy and remove them.

Even if the bunkers are (very) gradually disappearing from prominence in the Albanian landscape, they continue to live on as both material and symbolic resources for commentary on and re-appropriation of the socialist heritage and past. Bunkers have been the subject of works of art (ex.: Anila Rubiku’s Bunker Mentality/Landscape Legacy, at the First International Kyiv Biennale ARSENALE in 2012). They have been the subjects of theses (ex.: Emily Glass’ A Very Concrete Legacy: An Investigation into the Materiality and Mentality of Communist Bunkers in Albania [2008]) and book chapters (ex.: Michael Galaty, Sharon Stocker, and Charles Watkinson’s “The Snake That Bites: The Albanian Experience of Collective Trauma as Reflected in a Changing Landscape,” in The Trauma Controversy [Albany: State University of New York, 2009]). They have been the subject of projects to mobilize the socialist architectural heritage to create hostels for tourists (ex.: Elian Stefa and Gyler Mydyti’s Concrete Mushrooms, and Iva Shtrepi and Markus Pretnar’s [award-nominated, though to my understanding never completely carried out—not sure how that works] Bed & Bunker), and they have been documented in several photography projects (ex.: Alicja Dobrucka in conjunction with Concrete Mushrooms and David Galjaard’s Concresco). They have lent their name and image to music events (ex.: Bunkerfest). More recently, they have been incorporated into monuments (as in Fatos Lubonja and Ardian Isufi’s Postbllok memorial along Tirana’s main boulevard, installed in 2013). Finally, they lent their image and name to the (now closed—indefinitely?) furiously publicized opening of Bunk’Art, a museum/installation venue/all-purpose-space house in a huge underground bunker on the outskirts of Tirana, originally constructed to house the nation’s socialist leaders in the event of a nuclear attack.

Photo by Carrie Ann Morgan
Photo by Carrie Ann Morgan

Then, just a few weeks ago, construction began on a new bunker, modeled on those that still dot the countryside, in the center of Tirana, in the space near the National Theater and the Transport and Interior Affairs Ministries. Vincent WJ van Gerven Oei offered a lucid and searing critique of this new bunker in a recent post on his Unofficial View of Tirana blog; at that time, henoted that there had been little public protest of the new bunker construction. Subsequently, however, the bunker was itself ‘fortified’ (surrounded with metal panels and covered with a sheet), and there have been protests and public pushback against the ‘mushroom.’

Finally, yesterday, the artist Ardian Isufi, one of the two people behind the Postbllok monument, wrote a quite violent condemnation of the new bunker, taking the opportunity to draw a firm line of demarcation between the use of the (pre-existing) bunker in Postbllok and the construction of the new bunker in the center of the city, presumably on the entrance to the network of underground space beneath the square.

Photo by Carrie Ann Morgan
Photo by Carrie Ann Morgan

I would like, quite briefly, to raise certain questions about the bunkers (and about the construction of the new bunker in the center of Tirana) that I do not think have been fully examined in the recent commentaries and protests.[4] It is not so much that I disagree with any of the points raised thus far—although, as it will become clear, I have serious issues with the way Isufi tries to distinguish Postbllok from its new cousin—but rather that I think the discussion can be enriched by considering more carefully some of the possible modalities of experience that are actually being presented. At the outset, I will say that my own reading of the bunkers—or ore precisely of their recent appropriation in pseudo-events like Bunk’Art’s opening (and even in Postbllok) is relatively strongly invested in interpreting the bunkers as part of an aesthetically modernist project. Put simply, the bunkers are often treated in a hermeneutical way: as Jameson put it, “the work in its inert, objectal form is taken as a clue or a symptom for some vaster reality which replaces it as its ultimate truth.”[5] This is, I have argued elsewhere, certainly the case with Bunk’Art, which strives to recover the modernist depths of memory in the touristic perambulation of the underground bunker. It is also, I think, the case with Postbllok, which likewise uses the instantiation of a particular “triptych of artifacts” (Isufi’s term) to lay bear a deeper truth about the experience of the dictatorship. (Isufi himself writes that the bunker in Postbllok is “a metaphor of the ISOLATION and the VIOLATION OF THE RIGHTS OF THE INDIVIDUAL” [Isufi’s emphasis]”—that is, it is in keeping with modernism’s metaphorical approach, which asserts deeper meaning, as opposed to postmodernism’s metonymy, which is lateral as opposed to essentializing. Let me be clear: I am not (as some might) using the term ‘modernist’ in a pejorative sense in relation to either Bunk’Art or Postbllok—I simply think that it is necessary to recognize that they bring with them a certain baggage that all models of depth-thinking do. Namely, they really believe in the hermeneutic model; they believe in underlying structures and truths; they believe in deep, shared experiences that pre-exist and underlie surface appearances.

This position, however, is a difficult one to sustain in the case of the bunkers, since they are—fundamentally, also first and foremost a surface phenomenon: they map out a cartography that is lateral and grid-like as much as it is oriented to the depths (of the territory or of the psyche). Thus, the bunkers are useful to think with precisely because (both materially and ‘metaphorically’, if I may be allowed the term) they straddle the seeming schism between depth-models of epistemology/aesthetics and surface-models of the same.

What I am getting at is that I do not think the new bunker under construction (the ‘outer form’ of which is already, apparently, being changed) functions in precisely the same way as either Postbllok or Bunk’Art. (On this much, at least, Ardian Isufi and I apparently agree.) This difference, however is not one between memorializing and aesthetic violence, nor is it one between authentic originality and kitsch inauthentic production. In fact, the dismissal of the bunker as ‘kitsch’ is one of the least convincing points Isufi’s condemnation makes: there is almost nothing sentimental about the new bunker, and the use of the bunker form is hardly some acquiescence to mass taste.

However, what is more problematic is Isufi’s reliance on a model of original/copy to describe the relationship between the bunker in Postbllok and the new bunker under construction. He asserts that the bunker in Postbllok is an “ARTIFACT” (his emphasis), dating from 1976, placed at the entrance to the ‘Bllok’ (the elite section of socialist Tirana) at that time. In other words, he says, the bunker in the memorial is a site-specific work of art, and as such it carries with it a historical, artistic, and hermeneutic authenticity that cannot be produced by a bunker constructed with new concrete, with new iron, by new workers in the center of the city. Setting aside the rather obvious (I think) point that the aims of this new bunker are in no way memorializing, I find Isufi’s privileging of authenticity to be problematic, precisely because it misses an important aspect of what the bunkers are—namely, they are the kinds of structures that are not copies of a privileged original, and that even if they once were copies of such an original, they are now all—as Rosalind Krauss puts it, “multiple copies that exist in the absence of an original.”[6]

Thus, privileging the historical circumstances of any particular bunker (say, the one in Postbllok) as if they made it more closely and authentically linked to traumatic memory is nearer to the kind of misunderstanding inherent in kitsch sentimentality. This is, of course, not to argue against the importance of historical preservation, or a denial of what we can learn about the past and present through concrete engagement with objects. Rather, it is to deny the inherent and underlying link between objects [of heritage] remaining in the present and any particular past. Such links are always in the process of being constructed, or at best re-constructed. The bunker in Postbllok is not a hermeneutic device for confronting and understanding traumatic memories (if indeed it is such) just because it existed in the past. Furthermore, the past (and its emotional or existential valence) is not simply something that can be “revealed” with “transparency.” Isufi seems to like the idea, set by other models, of using transparent materials for monuments to the traumatic past, in order to show an effort at “transparency and tolerance”; I would argue that this version of transparency is essentially a reiteration of the depth-model: it believes both that it is possible to make the veil separating us from the past transparent and that the pasts and presents revealed by this transparency are deeper and truer than those characterized by opacity.

This, finally, brings me to a point about the kind of memorial (and remember: it still seems fairly clear to me that the new bunker in Tirana is not meant as a memorial, but also that, for Isufi, it represents the wrong way to memorialize), or even the kind of public intervention in space, that might be appropriate in contemporary Tirana. It seems quite clear to me that many of the protests related to the bunker relate to the fact that it is divisive, even violent: it stands as a mockery of certain members of the population, who were persecuted under the socialist regime, and it prevents a safe and shared public space from developing. It is, to adapt Isufi’s language intolerant.

However, the dream of tolerance, of shared remembrance, of the role architecture or public art could play in the peaceful cohabitation of public spaces, is as dubious as it is important. What is ultimately at stake here, I think, is the vision of democracy that one hopes to advance. Is it a democracy based on shared and essential conditions, including the shared understanding of a traumatic past (the socialist one), based upon the belief that mutual respect and rational discussion between subjects will bring about an ideal political condition, one in which “the rights of the individual” are paramount? This is a popular image of democracy, one that is—I would argue—both quintessentially modern and quintessentially neoliberal. An alternative would be the model of democracy as agonistic, one that does not dream of installing a permanent consensus, either in the present or with regards to the past (I am of course referring to the kind of democracy advanced by Chantal Mouffe and Ernesto Laclau, among others). If this second model of democracy, one that recognizes the persistent possibility and indeed necessity for conflict in the public arena, is more appealing as a radical possibility against the incursions of global neoliberalism, then we must—I think—abandon the depth-model of historical epistemology, especially in cases like the bunkers.

I began this consideration with Donald Judd’s famous quote on order and repetition because I think it encapsulates, quite well, the logic of the bunkers both in the past and in the present case of the new bunker under construction in Tirana. “The order is not rationalistic and underlying, but is simply order, like that of continuity, one thing after another.” The bunker, in other words, is not always deeply and essentially linked to a memory, or an identity, or even a history, and treating it as such will never fully combat either the violence or the constructive work it can do. The logic of the bunkers was and is both the logic of modernist depth and the logic of postmodernist surface: they both are and are not ‘rationalistic and underlying,’ and they are not originals and copies, but simply ‘one thing after another.’ Although I do not much like (from what I have seen and read of it in the media) the new bunker in Tirana, I do not think that arguments about its psychological violence or lack of historical authenticity, its ugly or kitsch aesthetics, are very credible in the contemporary world. Indeed, if nothing else, the new bunker has shown us what Miwon Kwon asserted over ten years ago now[7]: that the notion of “site-specificity” continues to be hotly contested, and that no straightforward return to essentialist models of site and community will sort out the conflicts surrounding public space and art or architecture.

[Right around the time I initially published this piece, Vincent WJ van Gerven Oei published a second post dealing with the background of the Tirana bunker in greater depth than previous articles. It is invaluable for its speculations on the political role (and reason, or lack thereof) for the bunker’s construction. However, I still think that it takes the talk of “redering the past transparent” too much at face value, and thus some of what is important about both bunkers is missed.]

[1] I should say that I am not in any way condemning the use of the term “bunker mentality,” which has now almost become a kind of vernacular. The phrase itself neatly encapsulates both the dangers of extending descriptions of psycho-spatial states to collectives, and also the concise explanatory power that such psycho-spatial concepts can hold.

[2] The following overview of the bunkers does not intend, in any way, to be comprehensive. The point is simply to give a bit of history of the bunker as both a material entity and a symbol.

[3] For example, I have heard –though cannot verify—that foreign firms were contracted in the large-scale removal of bunkers from the fields in the south of the country, near Gjirokastra.

[4] I also fully realize that I have not had time to read everything on the subject, and thus—as always—welcome comments that would direct me to other sources that have already made the same points I make here, or raise questions I have not adequately addressed.

[5] Fredric Jameson, Postmodernism, or, The Cultural Logic of Late Capitalism (Durham: Duke University Press, 1995), 8.

[6] Rosalind Krauss, The Originality of the Avant-Garde and Other Modernist Myths (Cambridge, MA: MIT Press, 1986), 152

[7] Miwon Kwon, One Place After Another (Cambridge, MA: MIT Press, 2002).

Image // Anti-Image

Preliminary Expectoration

The grand manner consists of four things: subject matter or theme, thought, structure, and style. The first thing that, as the foundation of all others, is required, is that the subject matter shall be grand, as are battles, heroic actions, and divine things. But assuming that the subject on which the painter is laboring is grand, his next consideration is to keep away from minutiae to the best of his abilities lest he offend against the dignity of historical painting by passing over with a hasty brush things magnificent and grand, and linger amid vulgar and slight ones. The idea of beauty does not descend into matter unless this is prepared as carefully as possible. This preparation consists of three things: arrangement, measure, and aspect or form.—Nicolas Poussin

Attunement

On Thursday, July 17, I finally had the chance to enter the Center for Openness and Dialogue (COD), the new multipurpose exhibition space, archive, and library that now occupies the first floor of the Prime Minister’s building [Kryeministria] in Tirana. The opening of this center represents the latest in a veritable whirlwind of moves made by Prime Minister Edi Rama’s government, to open spaces that have previously been—for various reasons—inaccessible to the Albanian public. These spaces include Bunk’Art and the Shtëpia e Gjetheve [House of Leaves; the former center of surveillance and torture under socialism], both of which were turned into short-lived (since neither is now open to the public) and heavily-promoted (especially to international diplomatic audiences) multi-purpose museum spaces. (The “multi-purpose” aspect was only true of Bunk’Art, which—as its name suggests—was also some type of art installation space.) While the opening of these two spaces was part of a larger touristization (and consequent monetization) of socialist-era history, it seems to me that Rama’s claims about opening the Prime Minister’s building to the public are aimed more directly at his predecessor, Democratic Party (now laughable) leader Sali Berisha, than at earlier occupiers of the building. As such, it presents a different (though by no means unrelated) version of the recuperation of Albania’s architectural spaces from their past uses, and it also allows the Prime Minister’s continued insistence on blending art and politics to be fully realized—presumably in precisely the way Rama wants them to be, since the space is literally his front doorstep.

According to the COD’s website, its primary goals are to “offer an open and transparent encounter between various forms of public dialogue, aiming to demystify an institution which up until now has been closed to Albanians, despite the fact that it has a tremendous effect on their lives.” [“Duke ofruar një qasje të hapur dhe transparente përmes formave të ndryshme të dialogut publik, COD ka për qëllim të demistifikojë një institucion, i cili deri më sot ka qenë i mbyllur për qytetarët, edhe pse ka ndikim shumë të madh në jetën e tyre.]. The COD (an acronym derived from a name that exists only in English, which already makes claims to “public dialogue” seem completely unbelievable) contains several different “installations.” (I use this catch-all term, since I do not know how else to simultaneously describe a small library, books laid out in various aesthetic arrangements on tables, groupings of laptops with videos of the space being renovated, slideshows of archival photos, a “minilab of souvenirs,” an art exhibition space, a space devoted to videos and books describing the three contemporary artists whose works are installed, respectively, in that exhibition hall, over the entrance to the building, and in a small patch of grass next to the building’s main entrance ramp.)

Despite the overt eclecticism of the space, much of the commentary has focused primarily on the installation of art in, on, and around the building, and this is no doubt the most spectacular aspect of the COD. It is also telling, since it indicates the degree to which the primary thrust of Rama’s (or whatever team he worked with to design and fill the space(s)) curatorial impact has been felt through the presence of the specific artworks in the space (as opposed, say, to the documents now made available, or the display of archival photographs, or even to the idea that—in theory—this will now be a changing exhibition space that will later be occupied by other works. The works in question are Triple Giant Mushroom by Carsten Höller (installed in a patch of grass to the right of the main stairs leading up to the building’s entrance); the flashing, glowing Marquee Tirana created by Philippe Parreno hanging over the building’s entrance; and three photos by Thomas Demand (Tribute, Attraction, and Sign) mounted in the entrance hall to the building on its three respective walls.

SAM_0123 SAM_0055

A number of astute and interesting commentaries (here and here and here and here; I’m sure I have missed others) have already been written about this space, and I doubt that mine will say anything substantively new. I refer readers to these pieces first, both because they nicely lay out (in three languages) the main issues. Nonetheless, I think it is certainly a space worth dwelling on, as it nicely encapsulates both the possibilities and the failures of the relationship between art and politics in contemporary Albania.

I begin this post with Nicolas Poussin’s words on the “grand manner” because the artist Anri Sala—the Prime Minister’s longtime friend and collaborator—begins his own curatorial statement on Edi Rama (available here) with a discussion of Poussin’s Landscape With a Man Killed By a Snake of 1648, a painting that has long presented interpreters with a quandary. If Sala begins his discussion of Rama with the painting precisely because of the kind of mystery the work presents, in its play of layers of meaning and attention, I begin with Poussin’s words on the grand manner because, in a sense, I think they de-mystify precisely what Rama is about in the creation of the COD space. There is, I think, no better summary of Rama’s artistic-political strategy than “The idea of beauty does not descend into matter unless this is prepared as carefully as possible.” The Prime Minister’s building, and indeed all of Albanian politics is the matter, and the idea of beauty will not descend until preparations have been made. This messianic descent of beauty into the reality, with its classicizing overtones, is, I think, finally the promise of Rama’s Rilindja.

In a series of (often disjointed—perhaps necessarily so) problemata, I would like to consider the dangers and possibilities of this strategy, as they are embodied in the COD. Most of all, I would like to truly suggest a multiplicity of points of potential engagement, precisely as the COD claims (however disingenuously) that it wishes to facilitate encounters, and I wish to do so in part precisely by comparing the installations of the COD to existing works of art that occupy or depict the Albanian space.

Problema 1

The most straightforward criticism that can and should be made of COD is that it really has nothing to do with openness and dialogue and everything to do with the expressions personal aesthetic taste on the part of the Prime Minister and the elaboration of an authoritarian example that may guide discourse in particular directions even as it occludes other avenues of articulation. In a sense, the primary goal of the COD should be posing the question: what should be said next? And who will say it? These are both, in their own right, very difficult questions to raise, but I do not think that the COD effectively raises them. Precisely because of its completeness, its neatness, its cleanliness, its security guards and polite young women dogging the visitor’s every step, its ban on photographs—all of these things (to say nothing of the fact that it is in the Prime Ministerial building) conspire to make its statements seem definitive rather than open-ended. (Although this does not exclude a definitive open-endedness from characterizing the space as well.)

However, the very goal of “dialogue” is itself questionable. Dialogue presupposes the presence of well-formed, even essentially constituted subjects; it often presumes the presence of a shared object between those subjects, giving shape to their world. Dialogue may perhaps be defined by some as antagonistic, but it is not the condition of a plurality of antagonistic viewpoints defining and redefining their positions vis-à-vis an always-emergent field of objects. If we acknowledge this, then dialogue is in fact a condition quite apart from politics. It is even, if we view politics as ground of the possibility of subject-formations, a subordinate condition that is no longer directly political. Thus, if the COD presumes to fuse art and politics in the realm of dialogue, it adopts a view of politics that is already quite narrow, a view in which meaning-giving subjects have been ontologically united by shared reference to objects (in this case, the Kryeministria and the works displayed within and upon it.

Furthermore, the goal of “openness” is likewise open to suspicion. I once argued (in a talk on the relationship between the new placement of Odhise Paskali’s statue, the now-crumbling Monument to the Anniversary of Independence, and Postbllok) that the primary thrust of Rama’s Rilindja, as it manifested in the monuments erected around the anniversary of Albanian nationhood, was characterized by a paradoxical movement from closedness to openness that nonetheless retained the claustrophobic interiority of the former enclosed space. Thus, the Rilindja in politics was part of a constellation that also included the imaginary celebration of “opening” of the Albanian nation after it became independent from the Ottomans, and with the “opening” of the country in the wake of socialism’s end. This “openness” is suspicious because—as the publicity surrounding the COD’s opening and German chancellor Andrea Merkel’s visit to Albania as a “short break from the tortuous eurozone negotiations over the resolution of Greece’s financial woes” made abundantly clear—it creates a situation of disparity between Albania and its “outside” (namely, Europe). While this is certainly not the only, or even the primary, meaning of “openness” that the COD allegedly aims for, it seems clear that “openness” is—as it appears in the Monument to the Anniversary of Independence and Postblloku, an exterior condition, while closedness belongs to Albania itself at an essential level.

A political institution declared that it served particular goals, but did not. Instead, it contradicted these goals in nearly every instantiation of its policy. But the goals themselves were uncertain in their own right, and eminently corruptible. Lucky the public whose institutions do not pursue their stated goals!

Problema 2

The COD clearly wears its relational aesthetics on its sleeve, not just in the inclusion of particular artists often associated with the movement, but in its overarching conceptualization. This, however, seems to suggest that Rama’s fusion of art and politics is fundamentally a relational one. On this account, the continuum between art and politics is framed in terms of relations. It is worth considering, however, precisely to what degree the COD is a space not primarily of relationships but of objects. This in turn prompts us to ask: to what degree is Rama’s politics a politics of relationships, and to what degree a politics of objects?

An artist’s goal was to create relationships among his viewers, but his works stubbornly retained the qualities of objects. Lucky the audience that could still behold an object!

Problema 3

Part of thinking beyond the Kryeministria as a site of enclosure and thus paradoxically as (according to the logic of the COD) a primary possible site for “openness” must involve reconceptualizing the Kryeministria and its new installations in a broader spatial network. This network might extend across the entire globe, through economic flows, or through the intertwining careers of the artists, curators, and politicians involved. It might extend across the country, shifting through levels of citizenship, history, and access (since, as the COD points out, the Kryeministria has long played a key role in the lives of the Albanian people).

I think, however, that one of the most productive approaches to contextualizing the COD in space is to consider it in relation to the Postbllok memorial (installed in 2013) located diagonally across from the Kryeministria on Tirana’s main boulevard. This memorial, erected to commemorate those who died during Albania’s socialist period, was designed by Fatos Lubonja and Ardian Isufi, and consists of three elements: a concrete bunker that once guarded the corner of Blloku, the area of Tirana where the nation’s elite resided during socialism; concrete beams from the gallery of the Spaç forced-labor mining camp; and a graffitied section of the Berlin wall.

It has been suggested that Carsten Höller’s Giant Mushroom bears a resemblance to the “concrete mushroom” of Postbllok, a resemblance that is certainly weighted with meaning. I do not think, however, that this is the only visual—to say nothing of conceptual—connection between the two installations (COD and Postbllok). If Höller’s Triple Giant Mushroom connects the COD to the bunker of Postbllok, this irrevocably transforms both works. The mushroom becomes not merely a conglomeration of fungal types that “can be seen as a commentary on Albanian politics”; it is also part of a spatio-temporal dispersion (the “spore” of the dictatorship) that grows up in a new guise, echoing in turn the tripartite division of the socialist realist relief on the façade of the Kryeministria (created in 1974 by Kristaq Rama, Mumtas Dhrami, Shaban Hadëri, and Hektor Dule). At the same time, the bunker of Postbllok might also take on the multiplicity of Höller’s mushroom, its claustrophobic space now internally divided against itelf and its apparent direct relation to the traumatic memory of the socialist period brought into question.

The skeletal, crooked concrete pillars of the Spaç structure, in which tourists often stand to have their photographs taken, likewise present a logical juxtaposition with Parreno’s Marquee. Both frame an emptiness that is linked inextricably with the past. Indeed, the aesthetic(ization) of ruins that defines the logic behind the installation of pillars is inverted by the sterilized brilliance of Parreno’s Marquee, which would seem to threaten to empty out the emotional and material resonance of Postbllok. However, these ruins also function as a metaphorical gesture at the ruins of the Kryeministria’s first floor. In doing so, the building itself takes on some of the characteristics of the “prison of memory”—it joins even more closely with Postbllok’s rhetoric of “opening”, not longer simply on a rhetorical level but also on a visual/structural one.

SAM_0050

Standing tall and isolated, the thin section of the Berlin Wall that forms part of Postbllok is adorned on one side by scrawls of colorful graffiti, while its inverse is a blank expanse of grey concrete. In other words, on one side, signs proliferate—but they are fragmentary, illegible, exaggerated, split apart from their original context. On the other side, one looks in vain for the sign, and the materiality of the object asserts itself: it is a pseudo-presence that obscures, suggesting a role something like what Tony Smith suggested when he explained that his Die was neither a monument nor an object. This same blankness, juxtaposed onto the three walls of the entrance hall of the Kryeministria, also resonates through Thomas Demand’s works, particularly Sign, which takes on something of the Berlin Wall fragment’s dualistic semiotics when the space is viewed in relation to Postbllok.

It is worth noting that, looking out from one of the rifle slits of the bunker in Postbllok, positioning oneself precisely in alignment with metal rifle cradle, one looks out directly at the entrance to the Kryeministria. The gaze of the past is inescapable, and it echoes through the structures of the COD.

Designing an exhibition, an artist struggled to decide whether it was more important to enforce a tripartite reading of the works presented, or a dualistic one. Lucky the audience that need not choose between the logic of threes and the logic of twos!

Problema 4

The most satisfying aspect of the installation of Thomas Demand’s Sign—a photo depicting a vast white expanse that—upon closer observation—the viewer realizes is actually the silhouette of a model of a giant handshake. The incomplete handshake, which Demand identifies as a piece under construction for the 1939 World’s Fair, a piece commenting on “partnership of the people of the world by consumerism,” mounted behind glass, is not simply a vast expanse of white that gestures at the fundamental openness and instability of all signs. It is also a sensitive reflective surface that functions in the way that is similar to the way John Cage interpreted and used Robert Rauschenberg’s White Paintings of the early 1950s. Standing before Demand’s photograph, one sees both the photo and, inescapably, one’s own reflection against the bright light flooding in from the doors of the Kryeministria. Thus, Sign is both empty and ironic and full of situational meaning. Indeed, it seems to contain the entire situation of the viewer’s encounter with COD within it. One moves from one side of the image to the other, trying—in vain, at least as far as my experience went—to really see Demand’s image without the superimposition of reflected light and shadow clouding what is ultimately, in the end, just a photograph of a painted white field.

An image suggested a deep, almost pessimistic emptiness that threatened to escape the understanding of those who confronted it. But in this image, viewers could always see—at least—themselves reflected, however distorted and incomplete that reflection was. Lucky the audience that can see itself reflected in an empty image!

Problema 5

If there is, in my mind, a single aspect about the COD that is most problematic from the standpoint of practical engagement with the space, it is the ban on photography (of which both the security guard and the polite young woman who shadowed me through the space reminded me). Of course, I understand the practical considerations that plague any installation of art in terms of copyright and so forth. The ban on “non-professional” photography, however—and by this I mean, the ability of the public to snap a few photos of the exhibition with their smartphones or cameras—seems most philosophically contradictory to the interior space of the COD itself. The entire interior space, especially the installation of Thomas Demand’s photos, is concerned precisely with the possibilities of the image, as both object and sign. In the video accompanying the exhibition, in which Demand and the other artists explain their work, Demand insists on his inspiration by the kind of superficial and generalized media images that are ubiquitous in the capitalist era (and certainly in Albania). This is further reinforced Demand’s production of the photos of his models as the finished works (in most cases); the image, not the object created, is what matters. The fact that most members of the public first encounter the COD through media images confirms the relevance of Demand’s ideas to the space, and—in a sense—contributes precisely to its “closed openendedness.” According to the logic of Demand’s works, the whole COD itself could be encapsulated in an image; if it disappears tomorrow (as Bunk’Art and House of Leaves have done), the COD will still retain its ontologically primary existence, as image (rather than as space, or object, or relation).

Given this thought-provoking but circular and somewhat pessimistic reading of the space, it seems to me that exactly what the COD should allow is photography—and photography of the most superficial variety. Although many lament the rise of selfies, and the gradual waning of interest in surroundings themselves, in this case precisely what is needed is an engagement with the space that acknowledges and repeats—ad nauseam—the image of power presented by COD, wearing it out through prolonged (re)exposure and (re)transformation into an abundance of images. This would be a far more appropriate form of “dialogue” for the space to promote—and one in keeping with the title of Zef Paci’s archival installation Fotografitë Rishkruan Historinë [Photographs Rewrite History]. It seems unlikely to me that the COD will open itself up to any truly democratic political condition if it does not open itself to the dangers and possibilities of the proliferation of images. This proliferation holds within itself an ambiguity that is—in an important sense—anathema to the meticulous curation of the space, its perceived teleological completion.

A government declared itself to be merely an image of power, and power to be a function of images. Lucky the population that has recourse to images in the face of such a government!

Problema 6

As it is, the COD occupies a curious conceptual space that I would like to try to elaborate further. One of the strongest—and I think, quite legitimate—criticisms of Rama’s curation of the space (and the establishment of the COD as an art space within the Kryeministria) is that it drifts quite close to a totalitarian model of the aestheticization of politics. While I think this is true, I also think there is more to be said, and that this can most effectively be said by comparing Rama’s work to that of Albanian socialist realism. There was a time when I would have shied away from such a comparison, considering it entirely too sensationalist (given both that Rama is the son of Kristaq Rama, one of the great sculptors of Albania’s socialist years and that the mention of socialist realism generally often provokes negative responses and declamations of kitsch). Now however, the comparison is unavoidable. I wish to consider just one work of Albanian socialist realism, and from it to extrapolate—metaphorically—the interstitial space of the COD installations.

One of the greatest paintings from Albania’s socialist period is Vilson Kilica’s portrait Shoku Enver Hoxha [Comrade Enver Hoxha](1976). The work, which is a three-quarter portrait of Albania’s dictator, places Hoxha against a vast and utterly flat red background. The Leader himself stands looking out, a kind and strong benefactor, one fist raised in salute. The assertive flatness of the background is undeniably modernist; it creates a non-space of color that seems, quite explicitly, to turn to the tradition of Byzantine icon painting for many of the same reasons that Modernist painters did.

Kilica_Shoku Enver Hoxha_1976

However, the lower edge of this red expanse is broken; it in fact resolves into the lower edge of a waving flag—although it is clear that this is not a real, material flag, but merely its abstract and perfect foundational Form. Its two-dimensionality is complete and utter, and in this way it draws our attention to the surface of the canvas as a field where two coeval zones of color meet, framing the figure of the Leader. It is in this thin, tan strip of ambiguous space that—at lower left—Kilica has signed painting. One could say that, placing his name outside the zone of red that serves as the ideological ground prepared to receive the Leader’s image, the painter has removed himself from politics, has attempted to sidestep his role as a shaper of ideology. On could likewise say that, placing himself outside the zone of the red flag, Kilica precisely draws attention to himself as articulator of the ideological and conceptual round that levels the image to prepare for the clarity of the dictator’s presence. Rather than including himself within the zone of ideological construction, Kilica reveals himself to be in the elevated position of creator, imposing form and order to heighten the effects of ideas. In this reading, the space in which Kilica signs the work is behind the flag, and thus also behind the Leader—and in this space behind it is also before.

The ambiguity of this position is heightened, however, by the way that the flatness of the painting’s backdrop removes the hierarchical conditions normally asserted between creator and creation (just as the flatness brings into question even the robust ontological character of the Leader by suggesting that he too exists on a plain with the composition’s other formal elements, that his power is abstract like the symbolic charge of the flag’s brilliant red). This space, at once removed from ideology but continuous with it, creating and controlling it through partition and metonymy rather than imposing form from above, is also—in a way—the space of the COD. It is a space that wishes to escape certain ideologies, but at the same time articulates itself as their point of origin. Finally, it is in interstitial space in which hierarchy is both preserved (since the image of power is celebrated to its utmost) and undercut, since the insistent blankness of that image places it alongside—rather than above—its perceived effects. The COD operates in the space where surfaces sometimes appear to be behind others, while at other times that are continuous with them, unable to escape their dispersion in a space that may be multiple or may only seem that way. Far from creating a space where there appears to be none, the COD seeks to create an image in a space where there appears to be only image.

A politician sought to create space, but in doing so looked to art to tell him what space was. In the place of space, he found only image. Lucky the politician who finds only images, and no space!

Epilogue on Beauty

‘The idea of beauty does not descend into matter unless this is prepared as carefully as possible. This preparation consists of three things: arrangement, measure, and aspect or form.”

 

 

 

 

Eros on the Roads of War: Some Brief Notes on Hektor Dule’s Në Udhët e Luftës For and Against the Decadences of the Flesh

Another in my continuing series of posts giving vaguely idiosyncratic readings of Albanian socialist realist art. 

Hektor Dule, Në Udhët e Luftës, plaster version, photo by A. Kruti in Drita, 8 September 1975.
Hektor Dule, Në Udhët e Luftës, plaster version, photo by A. Kruti in Drita, 8 September 1975.

First exhibited in during the National Exhibition dedicated to the 30th Anniversary of National Liberation, Hektor Dule’s Në Udhët e Luftës [On the Paths of War] (also called Në Rrugën e Luftës) now stands in Tirana’s Great Park,[1] near to the fountains (and also to the new assortment of exercise equipment installed in the last few years). The bronze statue, depicting an Albanian woman holding up a jug of water and allowing a partisan soldier to drink deeply from it, seems appropriately placed in its pseudo-natural surroundings. It is, after all, about the nourishment of the body in the course of its struggles…what better location for it that the Great Park, where the body—in exercise, in sex, in relaxation and communion with an artificial nature—is fundamental to the creation and experience of space?

In 1975, writing of the work’s appearance in the exhibition (in its earlier version done in plaster), Fatmir Haxhiu wrote that “precisely in this moment both ordinary and life-affirming, in this fundamentally simple act—one that may people have encountered during the war years (a mother giving a jug of water to a partisan)—the artist struggles to show the love and intimacy that our people felt for the partisans, and the support that ordinary people gave to the partisans during the National Liberation War. And the artist achieves his goal. The two figures are connected to each other in a conceptual unity and by the complete harmonization of their forms.”[2] Later, Haxhiu writes, “It is an intimate work” [my emphasis].[3] The remainder of his article praises Dule (who at this point was one of the important figures in a new generation of Albanian sculptors, best known for the Mushqeta monument and his work with the famous ‘monumental trio’ of K. Rama, Sh. Hadëri, and M. Dhrami), offers the typically supportive assessment of his treatment of themes from the National Liberation War, and makes some minor aesthetic criticisms aimed at his future improvement as a sculptor.

Without dismissing the relevance of the ever-present theme of the partisan struggle, and certainly without wishing to poke fun at either Haxhiu’s analysis or Dule’s work, I would like to suggest a slightly different interpretation of Në Udhët e Luftës. Perhaps it is more accurate to say: I wish to expand upon our understanding of the themes of the partisan struggle precisely by pausing as we read the words love and intimacy, and considering what sculptural traditions Dule’s work is truly in dialogue with. In short, I would like to introduce (or perhaps, since so much popular discourse seems so committed to separating the two, to reintroduce) the question of the body, sensuality, and sex into the discussion of Albanian socialist realist sculpture.

For it seems undeniable to me that Dule’s sculptural group carries an immense sexual charge (and not just because of some vague associations with what goes on elsewhere in the Great Park). If Haxhiu’s analysis of the work seems to avoid this aspect, I think the fact that he uses the words “love and intimacy” to characterize the work indicates his awareness of the issues potentially broached by the work and an active attempt to undercut them. In much the same way, I think that Dule is trying to use the tropes of a certain sculptural tradition in the context of socialist realism in order partially to undermine them and partially to harness them.

Clodion, Nymph and Satyr Carousing (also known as The Intoxication of Wine), 18th century (ca. 1780–90), terracotta, in the Metropolitan Museum of Art, photo from the Met's website
Clodion, Nymph and Satyr Carousing (also known as The Intoxication of Wine), 18th century (ca. 1780–90), terracotta, in the Metropolitan Museum of Art, photo from the Met’s website

To see the eroticism of Dule’s sculpture, we need only compare it to a work that I dare say it was actually intended to be in dialogue with: Clodion’s Nymph and Satyr Carousing (also known as The Intoxication of Wine), 18th century (ca. 1780–90), terracotta, in the Metropolitan Museum of Art. Clodion’s work, which straddles (as the sculptor himself did) the turn towards the Neoclassical in sculpture with the more playful sensuality of the Rococo, is a kind of decadent mirror of Dule’s work. In Clodion: a satyr, the preeminent mythical being of male lust, leans back, allowing himself to rest upon a stone as he lifts one animal leg off the ground and pulls a naked nymph to him, his fingers digging into the flesh of her back. She leans into him, straddling his left leg, wrapping her right arm around his neck, and holds a goblet of wine above his mouth, pouring. In Dule: an Albanian woman, barefoot and dressed in garb that suggests she must be a villager) stands before a male partisan. Her feet are slightly apart, and one of his booted feet steps forward, placed firmly between hers. Her left arm and shoulder are drawn back, her clothing flowing out a bit behind her, and her right hand reaches out to steady a full, rounded jug as the partisan holds it in his right hand, by its handle, above his head. His head is thrown back, the jug held a few inches from his open mouth to allow the water to flow down his throat. His left shoulder is likewise thrown back, exposing his chest, and he braces his weight on his left leg. His left hand steadies the his rifle at waist height, as its barrel juts out phallically, but directed away from the woman. The only contact between the two bodies takes place between her sleeve and his chest as she steadies the jug, but she stares directly at his face as he drinks in a fixed gaze that connects the two emotionally, physically, and compositionally. Like Clodion’s pair, Në Udhët e Luftës rewards viewing in the round, shifting perspectives that give us different views of the two bodies and their intimate connections.

Hektor Dule, Në Udhët e Luftës, bronze version in Tirana's Great Park
Hektor Dule, Në Udhët e Luftës, bronze version in Tirana’s Great Park

I do not think that Dule’s sculpture intends to posit for its viewer a narrative of sexual engagement between the village woman and the partisan he shows, although that is certainly possible.[4] Rather, I think that Dule takes the tradition of which Clodion is emblematic (a Neoclassical sensibility, but with one foot still in the aristocratic tastes of the Rococo,[5] celebrating not only the sobriety of antiquity but also its Bacchic excesses) and attempts to overcome it in the context of socialist realism. Socialist realism was, after all, as much a “logic of cultural supplementarity, a logic that established itself by qualifying previous aesthetic traditions that were already…known” (as Devin Fore asserts), as it was a style in itself.[6] At the same time, however, he brings sensuality into socialist realism, offering a view of the National Liberation War—in its most “ordinary” and “life-affirming” moments—as a struggle that includes the sensual gratification of the body and its desires, of the partisan reinvigorated physically by is encounter with the village mother. There is no need to digress into Freud, and love, and the death drive (though indeed one could) to consider the equation of war, sexuality, and physical release that Në Udhët e Luftës presents. As much as Haxhiu seems careful to ensure that “love and intimacy” have strictly Platonic meanings in the context of Dule’s sculptural pair, the suggestion of sexual fullness present in the jug, the rifle held stiffly at waist-level, the partisan’s head thrown back, and the assertive offering of the village woman trace the contours of a very different set of connotations.

Hektor Dule, Në Udhët e Luftës, bronze version in Tirana's Great Park
Hektor Dule, Në Udhët e Luftës, bronze version in Tirana’s Great Park

One could certainly go further, and perhaps one should. All I mean to suggest here is the necessity of reasserting the body and its pleasures—sexual and sensual—at the heart of socialist realist sculpture (and art in general) in Albania (and elsewhere, of course). Works like Në Udhët e Luftës reveal the tension of inheriting the sculptural tradition of bodily desire made materially manifest, and the rich possibilities of bringing that ‘decadent’ tradition into the context of the National Liberation War narrative—of denying the pleasures of the flesh, but also of reaffirming them in the context of sacrifice and struggle. It should also remind us that the war years were not simply a clash of battalions and strategies, of ideas and ideologies, but also of bodies and their desires.

[1] I would welcome anyone with information about the precise year in which the bronze version of the statue was placed in the park—I confess I have no information regarding this placement.

[2] Fatmir Haxhiu, “Në Udhët e Luftës: Shënime rreth grupit skulptural të H. Dules,” Drita, 28 September 1975.

[3] Ibid.

[4] And the narrative itself seems plausible, though I have read no accounts that discuss the occurrence and/or frequency of sexual dalliances between partisans and the ‘ordinary people’ that gave them support and shelter during the war.

[5] Indeed, what style or period could more fully epitomize the “decadence” of bourgeois culture—that perennial enemy of socialist society—than the Rococo?

[6] Devin Fore, Realism After Modernism: The Rehumanization of Art and Literature (Cambridge: MIT Press, 2012), 244