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.
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!
There is much to discuss on the subject of the “Meshari” by Gjon Buzuku. Leaving history to the historians and language to the linguists, we will try to give a summary of the first time, the first Albanian book came to its linguistic home.
In short, “Meshari” is a 188 page Catholic text published in Venice in 1555, and is considered the first book written Albanian. Nearly 200 years later it was discovered in the Apostolic Library at the Vatican in 1740, only to be lost again and rediscovered 170 years later in 1909. It has since become an important piece of national identity and discussion and several copies have been reproduced. It uses the Gheg Albanian dialect, the Latin alphabet in addition to five Slavic/Cyrillic language characters, and is generally considered to be based on an existing written Albanian language.
From November 11-December 5, 2012*, the original book from the Vatican was on loan to the National Library, for the first time ever in Albania. This event fell under the umbrella of celebrations for 100 years of Independence.
The exhibit was made possible through an agreement between the Vatican, Diplomats and both Ministries of Culture, along with a Council of Ministers’ reserve fund of 10 million Lek, but old and new Lek have been both reported in various media, so the number is either roughly 7,100 euros, or 71,000 euros. Either way, that money came directly from the highest reserve fund at the request of the council of ministers, through diplomatic negotiations and adhering to official standards, clearly means that having the book for 25 days in November was a top Government priority – in terms of time, protocol, budget and other resources to say the least.
The exhibition proved popular, with a constant crowd shuffling through the room, looking into glass cases containing centuries of Albanian literary heritage and religious texts, a reminder of the effort of the clergy of 16th century Venice to conduct their affairs in the Albanian language. Staff were present, mainly to remind visitors not to use cameras, and an agreement with the Vatican required 24 hour state police presence, though it was not obstructive unless there were delegations present. Information was scant, and left some visitors wondering what they were looking at and why it was on display.
An article quoted the Director of the Department of Albano-Balkan Venus Sharxhi, stating “The influx of visitors has been great! Visited in a day 600-700 people, visiting dignitaries, scholars, schoolchildren and students. One media outlet reported that 25,000 visitors came in the 25 days of exhibition, while others reported 19,000, and one even stated 450-500 visitors per day (which adds up to 12,500). Another site reported 3,000 visitors in one day! Here we encounter a major difference in numbers – ranging from 12,000-25,000! Which is it?!! Was it 500 a day, 1,000, 3,000? Who has the official numbers, and why is the public given numbers varying by 13,000 people?
*UPDATE* An interview with the Library Director in late January, 2013, states there were precisely 19,160 visitors to see Meshari in Tirana.
It will take time to be seen if, and how this experience effected those who went to see the small exhibition room at the entrance to the library, where a collection of original and photocopied reproductions of religious writings of Buzuku, Pjetër Bogdani, Jul Variboba, Pjetër Budi, Frang Bardhi, Lekë Matrënga and others, lay under glass cases. By the public seeing these texts, we may soon see the rise of a new literary tradition, increased readership and an atmosphere more conducive to reading and writing, or we may well see an increase in the strength of the Catholic faith in Albania. These effects, however, will not be felt right away, if at all.
Director of the Library Aurel Plasari: “I call it historic, because for nearly two centuries since Albanians have discovered it, they could not have it. Even our greatest scholars like Zamputi, Riza, Çabej have not been able to hold it in one hand, but just browsing its reproduction.” Unlike Cabej, however, visitors were not even shown a reproduction they could browse, only the original under climate controlled glass, opened at a predetermined page, and out of reach. Needless to say, this was not a highly interactive exhibit, but more like some kind of strange, unclear pilgrimage. The director also thanked the government and the Prime Minister who supported and facilitated the event.
We aren’t yet sure of the financial details, but the exhibition hall did get new lighting, air conditioning and other display materials, as required by Vatican officials. (PM notes that the Vatican has stored ‘Meshari’ very well)
That being said, we can only make our immediate evaluations based on the numbers, but of course, the numbers do not match. To simplify things, we could look to the number of visitors that continued in to the library to borrow a book, or get a membership? So far we don’t have an answer.
How did the library as an institution use this opportunity to enhance not only its status as an exhibition place (which it did), but also its sustainability through membership? According to Instat’s release on Library numbers from 2007, there was a total of 22,739 registered readers, and the trend was increasing at a rate of around 2,000 readers per year.
Will this activity lead to an increase in registered readers for 2012? (As of December 2012, Instat does not have online data more current than 2007. This statistical summary from 2011 serves as a numbers background on the library in Albania.)
Using the above statistical summary, we can estimate, that in 2012 the library hosts no less than to 100 activities per year.
Alongside the exhibition of “Meshari” itself, was a conference entitled “Studies on the Missal of John Buzuku” presented by Italian Albanologist Lucia Nadin. In the conference, Nadin presented facts in favor of the argument that the first book written in the Albanian language was printed in Venice, a thesis put forth earlier by Simon Rrota, Rrok Zojsi, Eqrem Çabej and others. The most likely publisher would have been Bernardino de Vitali, who is said to have published works of Marin Barleti as well.
Indeed this activity will go into the history books, but mainly just because it happened. Indeed through the conference, it has surely raised the interest in Albania’s literary past, which continues to be explored by both Albanian and International linguists and academics. Of the thousands of regular people who viewed the book in the exhibition, very few would likely walk away with a meaningful experience. One tourist compared it to visiting Lenin’s tomb in Moscow, only much less interesting.