Unstoppable rhythm_Edi Hila

Tirana 27.06.2008

Unstoppable rhythm

I wanted to estimate the work of Ali Oseku, for some time now.

I have the pleasure to do so, impersonating a little the role of a curator, hoping that I have underlined the most important things, first by the selection of his works, but also by argumentation based on history and the evolution of his work. This is an exhibition to stop by, not only for it’s values but because Ali Oseku is one of the examples that represent an essential moment for the estimation of the modern art in Albania, as well, where the efforts for a new type of art, were evidenced mostly during the second half of the last century. Ali Oseku, the legend of the dictatorship epoch, the artist that never agreed with the creative method of socialist realism.

He was an autodidact in his works, which lead in the foundation of a personal aesthetic institution, so complex, that influenced in the creation of the image of an ant conformist artist, which reflected rebellion.

In the first chapter, as I’m calling it, his work can’t be determined only with his paintings. His appearance in public was another performance, a demonstration through a configuration invented on purpose, the way he dressed, the way he walked and so many other details. This was a relational attitude, in the aesthetic meaning, which enriched his artistic expression by another artistic device, such as performance. His first painting references came from impressionism, as he used to say, “I hang out with Van Gogh, Picasso, Dali”, and the demonstration come as a result of a strong intuition as an artist that demanded the necessary space and the right form to express himself. After all, the creative outcome is connected with the artist’s temper and integrity, and of course with the faith and the sacrifices and all of this have forage strength and unstoppable rhythm in his work.

The intensive colors of his paintings, the expressivity of the drawings and the scene-designing at the theatre associate the first notion, he should be the example of the modern artist and the modern man, with all his being. But he was much more than this.

Today, his paintings are a continuity of all the elements which use to define his modernism.

What else represent his paintings today, what does they manifest?

They objectify the slam of the penitentiary door behind his back, when he found himself alone in the street, without knowing where to go, and what to do. Here begins the second part of his story. That moment must have been full of tension, emotive and psychological, a reflective and liability moment, and in the same time a moment full of hope and love, a starting point. But his way was misty and was impossible to see ahead.

In Ali’s paintings there are no figurations. When you stand in front of one of his paintings, you distinguish a mountain, but then it takes the shape of a crater, in another painting you see a shining object and think of the sun. In another one there is a vertiginous vortex, and you think of the genesis of the world. Isn’t this enough to express his sufferings? Isn’t this the truth of his work, behind the radiance of impressionism and the colorful landscapes inspirited from the dream? I do believe this, because he doesn’t lie. He says the truth, as always, and because of that he suffered a harsh punishment.

Now he learned to observe the reality, maybe in the same way he observed his prison cell, chew his pain and reflect about the shape, the colors and the ideas that he has in mind.

This is how I read his work. This artist that never lies, this time has not come to entertain, but to remind us.

Edi Hila

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Tirane 27.06.2008

Ritem i pa ndalshem

Prej kohesh kam dashur te ndalem ne vleresimin e piktures se Ali Osekut.

Kam kenaqesine ta bej nje gje te tille duke hyre pak a shume ne rolin e kuratorit, duke shpresuar se kam vene theksin aty ku duhet, qofte permes seleksionimit por edhe nepermjet arsyetimit  nisur  nga historia, por edhe nga zhvillimet qe ka pesuar arti i tij. Kjo eshte nje ekspozite per tu ndalur, si per sa i takon vlerave  ashtu edhe per shkak se Ali Oseku eshte nje nga shembujt  qe perbejne nje moment esencial ne gjykimin e fenomenit te artit bashkohor ne Shqiperi, ku perpjekjet per nje art te ri, u evidentuan sidomos ne fillimin e gjysmes se dyte te shekullit te kaluar. Ali Oseku legjenda  e viteve te diktatures, artisti qe nuk binte dakord me metoden krijuese te realizmit socialist.

Krijimtaria e tij ishte ne rruge e siper drejt formimit, permes nje autodidaktizmi, qe e coi ne krijimin e institucionit te tij personal estetik teper kompleks, qe do te ndikonte ne krijimin e figures se artistit antikonformist, qe reflektonte rebelim.

Ne periudhen e pare po e quaj, krijimtaria e  tij nuk mund te kufizohet  thjeshte me ate c’ka ai pikturon. Shfaqja e tij ne publik ishte nje performance e vertete, ishe demostrim  permes konfiguracionit te krijuar enkas, qe nga menyra e ecjes dhe e veshjes, dhe e plot detajeve te tjera. Ky ishte nje qendrim relacional ne kuptimin estetik te fjales qe e pasuronte shprehine e tij artistike duke bere prezent ne ate kohe nje forme tjeter artistike sic ishte performansi. Duke pare se referencat ne pikture i buronin fillimisht nga impresionizmi dhe pastaj me rralle, sic thoshte dhe vete ne performansat e tij, “une rri me Van Gogun, Pikason,  Daline”, akti i demostrimit ishte nje rezultat i intuicionit te fuqishem nga nje artisti qe kerkonte hapesiren e nevojeshme dhe formen e duhur per tu shprehur. Ne fund te fundit rezultati krijues eshte nje ceshtje edhe karakteri, edhe ndershmerie, pa tjeter besimi dhe sakrifice dhe te gjitha keto kane ushqyer force dhe ritem te pa ndalshem ne krijimtarine e tij.

Koloriti intensiv i piktures, ekspresiviteti i vizatimit e deri dekoret ne teatrin  e operas shoqerojne idene e pare, ai duhet te ishte shembulli i artistit dhe njeriut modern,  me tere qenien e tij. Ne te vertete ai ishte pak me shume.

Piktura e tij sot eshte nje vazhdimesi e teresise se elementeve te cilat karakterizonin atehere modernizmin e tij

Por cfare eshte tjeter piktura e tij sot? Cfare tregojne keto tabllo qe kemi para nesh ne kete ekspozite?

Eshte perplasja e deres se burgut qe u mbyll pas shpines, kur ai gjend i vetem ne rruge te madhe, pa ditur se ku do te shkoje dhe cfare do te beje.Ketu besoj se rifillon pjesa e dyte e tregimit te tij. Ai moment duhet te kete qene teper i ngarkuar me nje tension te larte emocional dhe psikologjik, moment refleksioni, dhe pergjegjesie, ne te njejten kohe shprese dhe dashurie, e prej ketej duhej nisur. Por para tij kishte mbuluar nje mjergull shume e dendur dhe veshtire te dallonte se cfare  kishte perpara.

Ne tabllote e Ali Osekut nuk shquhen figurazione. Ne afrohemi para punes se tij dhe na duket se eshte pikturuar nje mal, pastaj perftojme imazhin te themi e nje krateri, ne nje tjeter tabllo shikojme dicka qe ndricon dhe mendojme se duhet te jete nje diell. Ne nje tjeter tabllo nje vorbull ajri qe leviz fuqishem, e gjitha a thua se jemi ne fillimet e botes. A nuk mjafton kjo per te  thene shume mbi ate qe kishte vuajtur? A nuk eshte kjo e verteta e artit te tij, pas ndricimeve te impresionizmit dhe peisazheve me ngjyra frymezuar nga endrra? Une e besoj kete gje sepse ai nuk genjen. Ai thote te verteten, ashtu sic e kishte thene gjithmone per hater te se ciles vuajti ndeshkimin e eger.

Tani ai di te shikoje mbi realitetin qe e rrethon dhe ndofta ne te njejten menyre si dikur  brenda qelise, bluan dhimbjen dhe reflekton si duhet mbi formen ngjyren dhe idete qe i vijne ne koke.

Keshtu e lexoj une kete pikture, ky artist qe nuk genjen, kete here nuk ka ardhur per te na zbavitur por per te na kujtuar.

Edi Hila

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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