The Promenade Gallery presents the exhibition, “Who Is Afraid of Red, Yellow and Green,” with the work of Alban Muja, Adrian Paci, Anri Sala, Artan Shabani, Driant Zeneli and Fani Zguro. This exhibition consists of the work of some of those Albanian artists who are now working in an international context.
The title of this exhibit is based on the title of one of the pieces presented, namely Anri Sala’s short video, “Who Is Afraid of Red, Yellow and Green” (2008). In this video, the Albanian artist presents an unusual situation by focusing on a static plane, as spiders build their webs over a stoplight, without fearing the tension that the latter create.
Alban Muja, an artist working in Kosovo, presents the photograph, “Catch Me” which he completed during his residency in Santa Fe Institution, in 2008, a photo which portrays the artist running through the desert.
"The picture shows the moment in which the artist crosses the U.S.-Mexican border. Beyond the superficial impressions of a frivolous act, this carries in it a whole series of paradoxes and cultural peculiarities, as well as the big question about what freedom means in our time. For the Mexicans this free movement across the border is as restricted and controlled as it is for Alban Muja’s compatriots in Kosovo. In these paradoxes, the artist finds the true analogues of his own identity around the world and how to overcome them."
Adrian Paci, with his video “Nobody is Romantic Anymore,” continues a search which he has started much earlier on the relationship between art and the positioning of the artist. The central object of Paci’s video is a real person, his friend, painter Ilir Zefi, who continues to cultivate a romantic idea on the role of the artist as well as art production. However, the capacity for irony, auto-irony and melancholy, combined with a critical sense, do not allow the protagonist of the video to become pathetic.
Artan Shabani, on the other hand, presents two photographs, “The Singing Lions,” whose focus is the dialectics between the influence and consumption of architecture on/by human beings, and vice versa.
Driant Zeneli presents the video, “All Art Has Been Contemporary,” a neon slogan of Maurizio Nannuci which was installed on the building of Galleria Civica D’Arte Moderna e Contemporanea in Turin; because of a technical problem some of the letters are not properly lit, thus completely changing the concept of the slogan, a situation which the Albanian artist documents in his video.
Fani Zguro presents his photograph “To Divide it,” which highlights the past, for example, how adolescents, because they had no money would transform a cigarette into a ruler so as to equally divide it amongst themselves