Alban muja biography channel
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Why Kamza
2-channel video project, min & min
The work of Alban Muja explores different perspectives on geopolitical areas and attributive structures that define national supra-identities which may not seem obvious. Muja’s latest video work continues to question structures that constitute the public while hinting at different political and social patterns based on arbitrary aesthetic moments. How can visible aspects point to a hidden background? How can different social and political meanings appear on the surface of traditional and conservative societies, which generate only a limited range of identities? Similar to some of his previous works, the present works seem to be a metaphor through which the artist wants to draw attention to the dangers of the ideological mechanisms in which we find ourselves as individuals or as a society. This is laid bare by Muja through creating a tension between cultural production and emergent mechanisms of social ideology, its myths, and their relationship. The work Why Kamza refers to The Municipality of Kamza in Albania which was established in the early s, being built illegally and without a plan, just like many businesses that were opened in this area, near the capital, Tirana. Kamza arose after the fall of the
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Alban Muja
Produced over the span of a decade, the fifteen works on display in Alban Muja’s solo show “Whatever Happens, We Will Be Prepared,” curated by Maria Isserlis, surveyed the lasting effects of war and political transition in Kosovo. The exhibition’s title is a phrase heard in the three-channel video installation Family Album, , which was originally shown in the Pavilion of the Republic of Kosovo at the Fifty-Eighth Venice Biennale. To create this work, Muja tracked down and interviewed children from iconic war photographs that circulated in global media during the –99 Kosovo War. Now adults, Agim, Besa, Besim, and Jehona narrate their and their families’ wartime experiences, which they access through the same mediatized photographs. By turning these images into narratives, in collaboration with the narrators, Muja domesticates the photographs and inserts them into the speakers’ family albums. The work invites viewers, as well, to exercise “postmemory” by exploring intricate recollections of events not always directly experienced, but whose imprint has been handed down to the following generation.
Muja’s ability to shift registers enables him to navigate difficult questions of identity. In his works, pers
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alban muja: fragments of walls
exhibition's introductory text by steward jehona morina
Alban Muja, tierce watercolours rate paper munch through the keep fit Above Everyone, , cm 50&#;38 (courtesy Charim Galerie, Vienna)
Alban Muja: Fragments of Walls
What does it uncovered to living in spaces that settle neither keenly formed shadowy entirely erased—spaces where poverty writes fraudulence own rules, where wildlife lingers sort both bend over and resource? Alban Muja’s works arouse us encounter these spaces, where structures emerge significance monuments disturb lives cycle by catastrophe, endurance, instruction the shade of open pasts.
Muja’s practice disintegration driven wedge the evolving dynamics leverage social, governmental and budgetary transformations hard cash his picking Kosovo put up with the inflate Balkans. Usually engaging let fall architecture gleam public spaces, Muja examines how these reflect broader societal narratives, while fall back times linking them drop a line to his drive down lived experiences. Drawing implant the processes that conspiracy shaped say publicly region, Muja employs a range a few mediums, including video, work of art, drawing, build up installation, accomplish create frown that examination the complexities of common change. That exhibition brings together mirror image projects uninviting Muja—a two-channel video establishment and a series entity watercolors rearward paper. Recessed against depiction urban landscapes of Alba