A HISTORY OUT OF CONTEXT
Curator Alberto Zanchetta
in collaboration with The Promenade Gallery | Vlorë Albania
The Promenade Gallery is glad to present the group exhibition of;
Cristian Chironi,Igor Eskinja, Ardian Isufi, Dacia Manto, Anahita Razmi, Artan Shabani, Enkelejd Zonja
Anahita Razmi,Video (4.55 min), Februar 2004 ''How your veil can help you in the case of an earthquake''
The video work, ''How your veil can help you in the case of an earthquake (lesson 1-8)'' is linked to an event that took place just before the date of origin of the video: the big earthquake in the region of Bam, Iran in December 2003. In the video the chador, the veil, symbol of muslim women, is used as a mere functional object. Shot in clearly contrasting black and white, the video is showing a rigorous direction in eight steps on how to use your veil as a lifesaver in the case of an earthquake, a dry run, that is reminding of stewardess instructions.
Anahita Razmi shows us how to use the chador (the veil of the muslim women) in case of an earthquake. Using a didactic language,the artist transforms the veil â which from a religous symbol translates/reduces into a simple object-teaching us how to save other people's lifes.
Cristian Chironi Gap #3, 2008, inkjet print from scanned negative d-bond, edition of 4 + p.d.a. in different format
In the series entitled Gap, Cristian Chironi, is inspired for his research from the photo archive of the Institute Parri Emilia-Romagna (Italy), using some pictures taken by Vittorio Vialli, the military captured and imprisoned in 1943 in a concentration camp in Germany . Vialli succeeded in hiding during his imprisonment, his camera and some film, documenting the few moments of "escape" in the camp.
The game of football is the pretext that Chiron chooses as a link, to relate past and present, introducing also himself together with the detainees, materially enlarging the image in a scale 1:1 and re-making himself photographed in front of the seabed standing over a rise made of transparent Plexiglas.
A gap in time and space relationship between the elements, likely to give rise to a series of relationships that cause vision through linguistic and ethycal problems.
Ardian Isufi ''Pa titull ne Kohe'', 40 x 30 cm mixed media on papers 1984-89"
In the work of Ardian Isufi, dating to the eighties, there is an irony subtle brain, which reduces the order of time to return to the tradition of painting a subversive attitude.
Create a report and a reaction between past and present
Dacia Manto, Asterina, 2009, video, 15'
In Asterina videos, drawings of Dacia are interwoven with natural elements, fading into the landscape, "French place" where weave relationships between what is natural and what is artificial. The artist then creates an area that is outside the control of man and Mother Nature.
In the eight lectures given by the video "How your veil can help you in the case of an earthquake." In Asterina videos, drawings of Dacia are twisted with natural elements, fading into the landscape, "French place" where relationships between what is natural and what is artificial can easily build up.
The artist then creates an area that is outside the control of man and Mother Nature. In the eight lectures given by the video "How your veil can help you in the case of an earthquake
Artan Shabani, ''A History out Of Context'', installation 2011, variable dimension, Courtesy The Promenade Gallery
Artan Shabani presents here a few piles of the old castle of Vlora, remains of an "ancient memory" that has been lost over the past twenty years, during the destruction and reconstruction of the city.
Reviving the pilings out of the water, that is, outside of their original context (now deceased) but preserving the memory of a culture drowned by the events.
Placing itself beyond the headlines and history, these works propose a different story than the reality we know, because out of context and patterns. It is certain that they are no less real and believable!
Igor EÅ¡kinja PANEL DISCUSSION (in basement), 2010 Lambda print, 60x120cm Courtesy Federico Luger Gallery
Panel discussion is a photographic work that is a part of space constructions which form "impossible picture". Work is lacated in a non context ambient tipycal for the gallery and museum spaces. It rapresents a grupation of fiticious chairs raminding us to possible gathering both in past as in future.
In reality chairs are cut out from the carpet which have a temporary, precarious and fremovable character.
Enkelejd Zonja ''Miss Patty'' 100x70 oil on canvas, 2010 Courtesy The Promenade Gallery
The painting is part of a series where the focus is set on the woman figure and her position in society.
My attempt has been capturing an intimate moment of the character's everyday life. Solitude,sadness, insecurity lay in the underground of a melancholic atmosphere.
The challenging look of a woman hides the enigma of her personal life history.
The exhibition ''A HISTORY OUT OF CONTEXT'' will be open to the public until September 19, 2011 at the Promenade Gallery, Bulevardi Skele Uji I Ftohte, 9401,Vlorë.
Opening 25 August 2011 8 pm
From 25 august 2011 to 19 september 2011
2011 Vlorë | Albania
Curator Alberto Zanchetta
The artists of the exhibition circumvent the context to create a space and a completely different story. Every situation (extracted, fragmented and proposed elsewhere) acquires a different meaning, and this is especially true in art galleries and museums, where the clean room leads to a decontextualization, and also forces a re-interpretation of the facts.
With this mechanism of diversification and alteration of reality, the artists come out of the context - meaning out of the original speech - to "unravel the world"and
allow us to see things with a very unusual look.
Leon Battista Alberti was among the first to argue that the painting should be based on a "story" to give shape to the objects. Usually the figuration in painting is synonymous with the narrative, but in the paintings of Zonja and Isufi the images are disconnected from a predetermined message, proposing "figurative accidents" that mix reality with imagination. Enkelejd Zonja builds his paintings with "no intention in telling specific stories," describing, if anything, "the paradoxes and the confusion of a culture subject to the transition." In the work of Ardian Isufi, dating to the eighties, there is a subtle and cerebral irony, which works against the order of time restoring a subversive attitude to the tradition of painting .
The creation of a relationship and a reaction between past and present is what happens in the work of Cristian Chironi. Using images of the photographer Vittorio Vialli - who documented the lives of people in the prison camps in Germany - the artist plays the role of a football player (the passion for football embodies the yearning for freedom that prisoners opposed to the atrocities of war). Although he has not taken part in that story by himself, however, Chironi takes part in the story's visual memory.
You can go out of context, or you can alter it by introducing yourself into it. In the video Asterina, Dacia Manto's designs are interlaced with natural elements, fading into the landscape, "sincere place" where relationships are weaved between what is natural and what is artificial. The artist then creates an area that is out of the control of man and Mother Nature. In the eight lectures given by the video "How your veil can help you in the case of an earthquake," Anahita Razma shows us how to use the chador (veil of Muslim women) in the event of an earthquake. Resorting to language teaching, the ' artist transforms the veil - a religious symbol is reduced / translated into a simple object - to teach us how to save the lives of people.
Stylized without losing force or conceptual richness, Igor Eškinja technicality comes to an abstraction which creates an optical illusion that allows you to query the look and space. Only approaching the two-dimensional world of Eškinja , the viewer will discover the deception that the artist generated.
However, the possibility of isolating not always tends to exclude the reality that indeed emerges from within; Artan Shabani presents here a few piles of the old castle of Vlora, findings of an "ancient memory" that has been lost over the past twenty years, during destruction and construction of the city. Reviving the pilings out of the water, that is, outside of their original context (now deceased) but preserving the memory of a culture submerged by the events.
Placing itself beyond the headlines and history, these works propose a different story than the reality we know, because out of the context and patterns. It is certain though that they are no less real and believable!
Nga
Alberto Zanchetta
Artistët e ekspozitës e shmangin kontekstinp për të krijuar një hapësirë dhe një histori krejtësisht të ndryshme. Çdo situatë (e nxjerrë, e copëzuar dhe e propozuar në vende të tjera), merr ne fakt një kuptim krejt ndryshe, dhe kjo është veçanërisht e vërtetë në galeritë e artit dhe muzeumet, ku dhomat e ftohta të çojnë në një dalje nga konteksti dhe njëkohësisht në një riinterpretim të fakteve. Me këtë mekanizëm të ndryshimit dhe modifikimit të realitetit, artistët dalin nga konteksti - dmth nga fjalimi origjinal – për të arritur procesin e kundërt të artikulimit të botës duke na lejuar ti shohim gjërat me një sy shumë të pazakontë.
Leon Battista Alberti ishte ndër të parët që mbështeste idenë se piktura duhet të bazohet në një "tregim", për t'i dhënë formë objekteve. Zakonisht trajta në pikturë është sinonim i narracionit pra i tregimit, por në pikturat e Zonjës dhe Isufit imazhet janë të shkëputura nga një mesazh i paracaktuar, duke propozuar "aksidente figurative" që përziejnë realitetin me imagjinatën.
Enkelejd Zonja ndërton pikturat e tij pa "asnjë synim për të treguar një histori të veçantë", në mos duke përshkruar "paradokset dhe konfuzionin e një kulture e cila është në tranzicion." Në punën e Ardian Isufit, që daton në vitet tetëdhjetë, ka një mendim ironik delikat, celebral, i cili përmbys rendin e kohës për ti kthyer traditës së pikturës një qëndrim rrebel.
Te krijosh një raport dhe një reaksion në mes të kaluarës dhe të tashmes është ajo që ndodh në punën e Cristian Chironi. Duke përdorur imazhet e Vittorio Vialli fotograf - i cili dokumentoi jetën në kampet e përqëndrimit në Gjermani - artisti luan rolin e një futbollisti (pasioni për futbollin mishëron dëshirën e zjarrtë për liri me anë të së cilës të burgosurit përballonin mizoritë e luftës).
Edhe pse nuk ka marrë pjesë në atë histori personalisht, vetë Chironi bëhet pjesë e memories vizuale të asaj historie. Mund të dalësh jashtë kontekstit, ose mund të hysh në kontekst për ta ndryshuar vetë atë. Në videon Asterina, vizatimet e Dasia Manto gërshetohen me elemente natyrore,duke u shkrirë në “peisazhe”, vende të pastra dhe të sinqerta ku mund të mpleksen marrëdhëniet midis asaj që është e natyrshme dhe asaj që është artificiale. Artisti pastaj krijon një zonë që është jashtë kontrollit të njeriut dhe të Natyrës Nënë. Në tetë leksionet e dhëna nga video "Si velloja juaj mund t’ju ndihmojë në rastin e një tërmeti", Anahita Razma na tregon se si të përdorim chador-in (vellon e grave myslimane) në rast të një tërmeti. Duke përdorur një fjalor didaktik ' artistja transformon vellon – e cila nga simbol fetar zvogëlohet / përkthehet në një objekt të thjeshtë - për të na mësuar se si mund t’ju shpëtojmë jetën njerëzve.
Duke stilizuar pa humbur forcën apo pasurinë konceptuale, Igor Eškinja arrin një abstragim, teknika e të cilit krijon një iluzion optik që i lejon atij të hetojë shikimin dhe hapësirën.Vetëm duke ju afruar botës dy-dimensionale të Eškinja shikuesit do të zbulojnë mashtrimin që artisti ka krijuar. Megjithatë, mundësia për ta izoluar,jo gjithmonë tenton që ta përjashtojë realitetin, i cili në të vërtetë buron nga brenda.
Artan Shabani paraqet këtu disa grumbuj të kalasë së vjetër të Vlorës, mbetje të një kujtese antike të cilat janë humbur gjatë njëzet viteve të fundit, gjatë shkatërrimit dhe rindërtimit të qytetit. Palafitet jetojne jashtë ujit, dmth jashtë kontekstit të tyre origjinal (i cili tashmë ka vdekur), por ruajnë kujtimin e një kulture të përmbytur nga ngjarjet.
Duke e vënë veten përtej kronikës së ngjarjes dhe kronologjisë, këto vepra propozojnë histori krejt të ndryshme nga realiteti që njohim, sepse janë jashtë kontekstit dhe modeleve. Dhe është e sigurtë se ato nuk janë më pak të vërteta apo të besueshme.