Bulevardi Deshmoret e Kombit
University of Fine Art Tirana
Nowadays, urbanism in Tirana seems to be dictated by the necessity of a historical arc that starts with the superposition of a fascist axis of Boulevard and Lana upon the organically grown Ottoman town. According to this narrative, this radical intervention of order was then further formalized during the socialist period, until democracy brought with it unbridled and cancerous growth, that now needs to be put back to order. The imperialist gesture of foreign architects then, is repeated once again today. But there is also another, alternative historical arc, as we suppose that there are many more. In 1937, a young Italian landscape architect, Pietro Porcinai, proposed to create a “Teatro di verzura” (Theater of Vegetation) in the garden of King Zog, close to the current location of the amphitheater near the Lake of Tirana. The main architectural component of this structure was precisely vegetation: grass, trees, bushes. The sculpting of green space as a communal place. This intervention suggests a historical arc from the gardens of Ottoman Tirana to the Teatro di verzura, the creation of the Lake Park during the socialist period, and up to the current civil society protests against the betonization of the Tirana’s last remaining green areas. This alternative history has not been lost to the many artists, designers, and architects, who, ever since the late 1990s, have attempted to imagine and reimagine Tirana – as a city, organ, fabric, home, studio – in the few pockets that allowed for independent thinking and creation. An important component in this alternative history is the project “1.60insurgent space,” curated by Stefano Romano and different curatorial collaborators between January 2005 and September 2006 – a project that this year celebrates its tenth anniversary. 1.60insurgent space was the name that moved continuously inside the city, producing exhibitions whose intent was to challenged international and local artists with various places, different from the “institutional ones,” in order to create new topics around art and its borders. The exhibitions questioned themselves and the city about the investigated areas, emerging from the idea of art as creation and diffusion of collaborative practices in constant interaction with the urban space from which and in which it is born. Rather than showing the “grave” of thinking and imagination, “Teatri i Gjelbërimit” shows the overabundance of sketches, thoughts, ideas, and dreams of Tirana as a giant, overstocked theater bursting at the seams – as a love letter to our City. During the process of creating the exhibition, artist, curator, and community organizer Bert Theis passed away. The curators wish to dedicate “Teatri i Gjelbërimit” to his work and activism.