Offering free studio space in Tirana city centre.
Duration: 2 months (Nov.1-.Dec 30, 2017)
Artist may use space as needed.
Artist shall create a permanent outdoor graffiti of their choice (upon approval of draft)
on Ditart Centre exterior doors, front wall and one water tank in the area. (images will be emailed). Artwork may depict or represent neighbourhood or another approved concept/design. Artist is encouraged to present a public event with works and communicate on social media about progress of work.
Artist will have full access to 42m2 studio space in Tirana city centre, includes bathroom, kitchenette, TV, WIFI, close to all amenities and bus routes.
Promotion of artist and work on Ekphrasis Studio online (website, youtube, facebook)
Promotion of artist and exhibition through Ekphrasis Studio network (mainstream/alt TV/print media, events guides, personal contacts, community, etc)
The artist retains full rights to use the image of the artwork.
Ditart Centre has full rights to use the image of the artwork.
Artwork remains on display as part of Ditart Centre’s permanent outdoor public art programme.
email for details and photos to contact@EkphrasisStudio.com
Ditart centre is a not-for-profit arts centre in Tirana run by Ekphrasis Studio to improve our daily artistic and cultural quality of life!
Shqip me poshte—English below—
L’argent est utilisé tous les jours et les symboles de notre culture et de notre histoire sont fiers présenté. De nombreux symboles ont été utilisés depuis le premier dollar canadien en 1858 et, avant cela, la livre canadienne et d’autres provinciales / coloniales. Un loonie, ou huard en français, est une pièce de un dollar avec l’image de huard sur elle, apparaissant pour la première fois en 1987, tandis que le toonie, un dollar deux pièce, présente principalement des ours polaires. On pense que l’association d’un “mâle” ce qui signifie un dollar provient de commerçants de fourrure qui ont utilisé le terme pour désigner un fourrure de castor, qui avait une valeur d’un dollar. Divers thèmes sont trouvés dans la circulation, des pièces de monnaie commémoratives et collectables et des billets de banque, représentant souvent des animaux, les gens et les événements dans un contexte canadien.
L’exposition canadienne de l’argent et de la culture à Ditart présentera des l’argent canadien, des informations sur les symboles qui y figurent, l’occasion de familiariser les téléspectateurs avec l’argent canadien et ses thèmes, personnages et histoires.
Organisé par Kevin Tummers et Blerina Berberi
Paraja perdoret cdo dite dhe simbolet e kulturës dhe historisë sonë janë paraqitur me krenari. Shumë simbole kanë qenë përdorur që nga qarkullimi i parë i dollarit kanadez në vitin 1858, dhe para kësaj pound-i kanadez dhe të tjera monedha provinciale / koloniale. Nje Loonie, ose Huard në frëngjisht, është një dollar monedhë me imazhin patës në të, për herë të parë të botuar në vitin 1987, ndërsa toonie, dy dollar, kryesisht përmban arinj polare. Mendohet se kuptimi i një “buck” që do të thotë një dollar vjen nga tregtarët e lekures se kafsheve që përdorën termin për të treguar një lekuren e kastorit, e cila kishte një vlerë prej një dollar. Tema të ndryshme janë hedhur në qarkullim, monedha përkujtimore dhe kartëmonedha, shpesh permbajne kafshët, njerëzit dhe ngjarjet në një kontekst kanadez. Ekspozita “Paraja kanadeze dhe kultura” në Ditart do të paraqesë shembuj të parasë kanadeze, informacion në lidhje me simbolet mbi ta, duke i dhënë mundësi shikuesit te njihet me paratë kanadeze dhe shumë tema dhe histori.
Money is used everyday and symbols of our culture and history are proudly presented. Many symbols have been used since the first circulation of the Canadian dollar in 1858, and prior to this the Canadian pound and other provincial/colonial currencies. A loonie, or huard in French, is one dollar coin with the loon image on it, first appearing in 1987, while the toonie, a two dollar coin, mainly features polar bears. It is thought the association of a “buck”
meaning a dollar comes from fur traders who used the term to denote a beaverpelt, which had a value of one dollar. Various themes are found in circulation, commemorative and collectable coins and banknotes, often picturing animals, people and events in a Canadian context.
The Canadian Money and Culture Exhibition at Ditart will present examples of Canadian money, information about the symbols on them, giving the opportunity to familiarize viewers with the Canadian money and its many themes and story-lines.
Curated by Kevin Tummers and Blerina Berberi
supported by Ekphrasis Studio
Les Acadiens d’La Baie, at DITART Centre, presents the French Acadians of Saint Mary’s Bay, Nova Scotia, through their history, language, art, culture and music. The original Acadians were the first European settlers in Canada beginning in 1604. Their descendants arrived in Baie Sainte-Marie in 1768, and have remained there since. They have maintained family ties throughout the Francophone world, including Louisiana, where their relatives are known as Cajuns. Baie Sainte-Marie/Clare Municipality is Nova Scotia’s only officially bilingual municipality and is surrounded by English and Mi’kmaq speakers, leading to an interesting linguistic evolution of old French, Metis and modern English. Please join us at DITART to learn more!
“Les Acadiens d’La Baie”, një ekspozitë në Qendrën kulturore DitArt, prezanton akadianët frankofonë të Gjirit të Shën Mërisë, në Skocinë e Re, përmes historisë së tyre, gjuhës, kulturës dhe muzikës. Akadianët janë kolonia e parë evropiane që mbërriti në Kanada duke filluar nga viti 1604. Pasardhësit e tyre janë vendosur në Gjirin e Shën Mërisë më 1768-ën dhe kanë ndenjur aty që prej asaj kohe.
“Les Acadiens d’La Baie”, une exposition au Centre DitArt, présente les Acadiens francophones de la Baie Sainte-Marie, en Nouvelle-Ecosse, à travers leur histoire, leur langage, leur culture et leur musique. Les Acadiens sont les premiers colons européens arrivés au Canada à partir de 1604. Leurs descendants se sont installés dans la Baie Sainte-Marie en 1768 et y sont restés depuis.
Born 1959 – Copenhagen, Denmark
Vilhem’s motive in the world revolves around human relationships and the landscape that surrounds us and is within us, or as he states “It is the blind spot I try to identify through art”. Creativity started as a bolt from the sky. The media images of the Kosovo war during the 90’s marked an important call for the artist to express his perspective on our human relationships. Vilhelm works with selfinvented techniques, and his paintings have thick and bold brush strokes, thicker than you think.
Do not miss the opportunity to see original works during the exhibition at DITART.
DITART International & Community Culture Center
Str. Mustafa Lleshi, Nr. 41,Tirana, Albania
Supported by http://www.EkphrasisStudio.com
Exhibition RELATIONS- Ekspozita LIDHJET
Lindur me 1959- Kopenhagen, Danimark
Motivi i Vilhelmit ndaj botes rrotullohet rreth lidhjeve dhe marredhenieve ndermjet njerezve and pejsazheve qe na rrethojne ose jane brenda nesh, ose sic thote artisti “Eshte Pika e Verber qe une perpiqem te identifikoj ndermjet artit”. Krijmtaria filloi si nje vetetime nga qielli. Imazhet e medias gjate luftes ne Kosove ne vitet 90-te shenuan nje thirrje te rendesishme per artistin per te shprehur perspektiven e tij ndaj lidhjeve dhe marredhenieve njerezore. Vilhem punon me teknika te shpikura vete dhe pikturat e tij kane penelata te trasha, me te trasha se cmund te mendoni.
Mos e humbni mundesine per te pare veprat origjinale gjate ekspozites tek DITART.
DITART Qender Kulture Nderkombetare dhe Komunitare
Rr. Mustafa Lleshi, Nr. 41,Tirana, Albania
Mbeshtetur nga http://www.EkphrasisStudio.com
PLEASE SHARE TO THOSE INTERESTED!
Me poshte per shqip!
Born 1959 – Copenhagen, Denmark
Vilhelm’s motive in the world revolves around human relationships and the landscape that surrounds us and is within us, or as he states “It is the blind spot I try to identify through art”. Creativity started as a bolt from the sky. The media images of the Kosovo war during the 90’s marked an important call for the artist to express his perspective on our human relationships. Vilhelm works with selfinvented techniques, and his paintings have thick and bold brush strokes, thicker than you think.
Do not miss the opportunity to see original works during the exhibition at DITART. Oct. 16- Nov. 20, 2015. DITART International & Community Culture Center. Str. Mustafa Lleshi, Nr. 41,Tirana, Albania.
Supported by www.EkphrasisStudio.com
Lindur më 1959- Kopenhagen, Danimark http://vilhelmaagaard.dk/
Motivi i Vilhelmit ndaj botës rrotullohet rreth lidhjeve dhe marrëdhënieve ndërmjet njerëzve dhe pejsazheve që na rrethojnë ose janë brenda nesh, ose sic thotë artisti “Është Pika e Verbër që unë përpiqem të identifikoj ndërmjet artit”. Krijmtaria filloi si një vetëtimë nga qielli. Imazhet e medias gjatë luftes në Kosovë në vitet 90-të shënuan një thirrje të rëndësishme për artistin për të shprehur perspektivën e tij ndaj lidhjeve dhe marrëdhënieve njerëzore. Vilhem punon me teknika të shpikura vetë dhe pikturat e tij kanë penelata të trasha, më të trasha se çmund të mendoni.
16 Tetor- 20 Nëntor, 2015 @ DITART Qendër Kulture Ndërkombëtare e Komunitare, Rr. Mustafa Lleshi, Nr. 41, Tirana, Albania. Mbështetur nga www.EkphrasisStudio.com
June 20-July 19 / Daily 12:30-20:30
Triple Dance Exhibition / Ekspozita “Kërcimi Tresh”
DITART International & Community Culture Center
ANAITA (Anita Duriçi) inspired and very curious about paintings and drawings, studied arts during her teenage years. She uses bright colors to stimulate the surfaces of images, people, landscapes, life. Inspired by reality, her paintings are noticed for the happiness and liveliness.
Being optimistic, Anaita plays with colors and shapes, everything that makes visible her imagination. Her artworks are a mirror where is reflected what we all have inside, a desire for life!
ANAITA (Anita Duriçi) e frymëzuar dhe shumë e interesuar për vizatim dhe pikturë që në femijëri, studioi artin gjatë viteve të adoleshencës. Ajo përdor ngjyra të ndritshme për të stimuluar përfaqësitë e imazheve, njerëzve, peisazheve, jetës. E frymëzuar nga realiteti në pikturat e saj spikat lumturia dhe gjallëria. Duke qenë natyrë optimiste, Anaita luan me ngjyra dhe forma, gjithçka që bën të dukshme imagjinatën e saj. Punët e saj janë një pasqyrë ku reflektohet ajo që të gjithë kemi brenda nesh, dëshira për jetën!
Stuck on Nostalgia
Ish-Kinostudio, Ish-Eksposita, Ish-Kombininati, ish Blokku, ish Misto Mame, ish Fusha Aviation, Lek i vjeter, Pazari i ri…
These and others, are examples of modern day places and things, that are no longer actively relevant, yet remain the preferred name. Ish translates as “former” and vjeter is “old”. So why do we insist on referring to things by what they once were, and not what they are? Is it laziness, or ignorance, or is it nostalgia?
It is certainly not laziness, as the effort used to argue between old and new lek is monumental. And it is surely not ignorance, as any literate person can clearly read the number printed on the money, or read a street sign.
Albania is a country seemingly looking to move on from their oppressed Communist past, and yet so many subtle indicators show that the country is still deeply rooted in those times, and often with a very fond nostalgia. It seems as though many residents of this country wear “nostalgia glasses”. Just as sunglasses block out the sun, these Nostalgia glasses block out the present. While wearing nostalgia glasses, one can also speak of the beauty and splendor of Albania, while ignoring the trash and disruptions that are present virtually everywhere.
There are many possibilities to explore, and I will begin with family composition in the household. In Albania, generally families live in large multi-generational units. These units often consist of grandparents, parents and children living together or in close proximity. In many cases both the grandparent and the parent would have been familiar with the former term of something, such as old lek or Eksposita. Thus, their continued use by the older generation could play a major role in the younger’s use of the term. This might be a logical explanation for why young children understand and use ‘old lek’. It is often said that Albania has one of the youngest populations in Europe, however it must also be considered that the older population remains a dominant part of social life, possibly stifling the youth’s development and usage of modern terms. Either way, there is a large communication between young and old, and somewhere along the way, the young are learning things from the older generations, that simply are not relevant today, yet somehow are made not only relevant, but the norm.
Media also has a major role to play, and it is one that is failing. The role of media is to convey reality to the people, yet, for whatever reason popular TV shows that give out cash prizes always refer to old lek, even at times in the title of the show! It is a form of surrealism, of which we have written in the past. These TV shows can suggest the cash prize is 1 million lek, or 500 million lek, and hide behind the fact that they refer to old lek, which is a number 10 times greater than new lek. Every single time an interview takes place on TV, there is always an additional comment or confusion as to whether old or new lek is being discussed. Added to this confusion is the newcomers in the country, who have no previous experience with old lek, and are dumbfounded when a vender insists that the 500 written on the banknote reads as 5000. More often than not, prices of public tenders or contracts are reported by the media in old lek. Although politicians create the laws and created the new lek, they also refer to old lek, and former place names, and politicians dominate the media coverage. Business also commonly list their address as “next to” or “across from” a former landmark rather than the actual address. Tv Klan, for example, lists their address on Aleksander Moisiu Street, yet adds “close to Ish-Kinostudio”.
While common people may be excused from using colloquial terms, which in these cases are a sort of street slang, it is completely inexcusable for media and government to use these terms, as they simply are not true at this point in time.
Another possibility for the continued usage could be that there are so many Albanian migrants who had left the country when these terms were relevant, only to have since returned and continue to use the names that were in use when they left, but this is a rather extreme possibility.
Regarding the place names, Pazari i ri, or the new bazaar, was established to replace the old bazaar which was situated where the current Palace of Culture is, in Skanderbeg Square. Construction of the Palace of Culture began in 1959, so I would assume Pazari I ri must date to around that time, or about 50-60 years ago. Ironically, the new bazaar is situated in Old Tirana.
The area known as ish-Kombinati was once the location of several factories, including one named in honour of Joseph Stalin, and the word Kombinat translates as “combine”, referring to the workers in those factories. The factories, however were largely destroyed by the people after the fall of communism, yet the name has stuck.
The new Ministry of Culture, is now situated in the former Kinostudio, on Aleksander Moisiu street. Surely everyone in Tirana knows where is ish-kinostudio, but likely less than 1 in 10 people in the city know where Aleksander Moisiu street is. Eksposita doesn’t physically exist anymore, but is still a common reference point, even though the street that passes it is named in honour of Gjergj Fishta, who is a national literary icon, born in the 19th century and the first Albanian to be nominated for the Nobel Prize.
This could have to do with the fact that many street names are recent in the country, thus reference points are needed for orientation. Yet it seems very strange for a young person, or a newcomer to refer to a place that is no longer there. This is not likely to change, and although the Train Station of Tirana has recently been destroyed, it is unlikely that the area where it stood will ever be referred to as the East side of the Boulevard, or any other name for that matter, and that area will continue to be referred to as the Train Station.
Why does any of this matter? It matters because a two level society has been created, where one group uses a particular set of terms that have no base in the present, and another group who uses the terms that are clear and evident. Essentially, it is a second language that is learned only through submersion into the culture, causing a false reality, and an extreme loyalty to the past. If this loyalty to the past is so prevalent, then it is a loud and clear indicator that the citizens value their cultural heritage of that period, just not in a way that can be learned in a book or a classroom, but through the wearing of “nostalgia glasses”.