TIRANA, Feb. 7- Renowned artist Artan Shabani has curated an exhibition with women and femininity as its subject. “L’eterno femminino” (eternal femininity) is being exhibited at the residency of the Italian Ambassador. Paintings, photographs, sculptures of 36 visual artists of different art genres and periods are displaying the female figure in her beauty, fierceness, intelligence, and dramatism through portraits, nudes and compositions.
Three periods which are put more importance to in this exhibition. It starts with 1920s expressionism, moves to the self-censorship imposed by the socialist realism during Enver Hoxha’s regime, and ends with the freedom of expression corresponding to the contemporary times after 1990s.
The woman as a subject is largely treated in Albanian art, regarding her roles in society and their symbolic meaning. The image of the Albanian female, from mother to daughter, from bigadeer to innovator, from arts models to life partner, is represented through simple sketches to more complex figures, up to the “Mother Albania” nomenclature.
The first works with feminine subjects are found at Pjeter Marubi, Ndoc Martini, Kol Idromeno, Simon Rrota, Zef Kolombi, Spiro Xega, Sofia Zengo, Androniqi Antoniu etc. “Motra Tone” (sister Tone) is an emblematic painting on the Albanian female portrait, full of beauty and elegance, a frugal work from master Idromeno, who is famous not only as a painter, but also as an architect, urbanist, photographer and scenographer. This painting is one of the first and most significant of Albanian secular art.
The exhibition is introduced with a portrait painting by lyrical poet Lasgush Poradeci, made from 1923. Poradeci was a romantic writer of Albanian national awakening period. Other painters, both renowned and new are Arben Bajo, Llambi Blido, Pëllumb Bylyku, Adrian Çene, Kristanja Çene, Greta Dhaskal Lami, Mumtaz Dhrami, Ibrahim Kodra, Guri Madhi, Flutura Maçi, Lasgush Poradeci, Robert Përmeti, Qamil Prizreni, Sofia Zengo Papadhimitri, Simon Rrota, Albana Shoshi, Zef Shoshi, Suzana Varvarica, Vilson Kilicia, etc..
Shabani writes that the methods of the figure’s presentation have started changing “the artistic yeast variable” on her, as in artistic techniques, in differing the aesthetic tastes and ethical refractions of the various art movements, but by retaining the essence of the functions of her manners and societal roles.
“The artist is in opposition to society and asks to be accepted, but he/she is not always accepted. Culture is a profound sensation, and I think that it is the biggest investment that a parent can make on the child,” said Shabani.