Overview

The Eduardo Secci Gallery is pleased to announce the inauguration of the solo show by Edi Rama (Tirana, 1964), artist and Albanian Prime Minister, at our exhibition space in Piazza Goldoni in Florence on Friday February 24th 2017 at 6PM. An atypical political personality, who not only addressed the economic redevelopment of his country, after years of crisis following the col- lapse of communism, but has done so also thanks to a remarkable artistic and ecological awa- reness, which has seen him involved in several social, urban and ethical regeneration processes.

Works
Installation Views
Press release

The Eduardo Secci Gallery is pleased to announce the inauguration of the solo show by Edi Rama (Tirana, 1964), artist and Albanian Prime Minister, at our exhibition space in Piazza Goldoni in Florence on Friday February 24th 2017 at 6PM. An atypical political personality, who not only addressed the economic redevelopment of his country, after years of crisis following the collapse of communism, but has done so also thanks to a remarkable artistic and ecological awareness, which has seen him involved in several social, urban and ethical regeneration processes. The exhibition will consist of drawings, sculptures and wallpapers, which unfold in the gallery’s spaces with no break in continuity, bringing the atmosphere of his office in Tirana to Florence, and ends with the projection of the video produced by Anri Sala in 2000 to testify Tirana’s great renewal project promoted by his close friend, Edi Rama. Through these works, one feels how Rama blends his aspects as an artist and as a politician, dilating his art to the political reality, reaching a point in which these two fields have become indiscernible for him. In fact, he has stated how he continues to paint during meetings or work calls and how, at the same time, this acts as a method of concentration and abstraction. With this in mind, the “Doodles” series, produced between 2000 and 2012, clearly represents the broadest current of his works. Marker drawings sketched on pieces of paper from his agenda on which he had jotted appointments, scribbles manifesting the interior unrest in the daily routine of a politician. These drawings exist as fragments of time, found during a day’s work, and can bee seen as musical scores. Apparently unconscious drawings, which seem to emerge from the surrealist tradition of automated typing, and which manifest themselves during his work, as something within him that is trying to flee from the workplace. Likewise, the sculptures become improvised renderings of existing shelters, caves and grottos of Rama’s subconscious. Although his political commitments absorb him in his daily routine, due to such dedication, he feels the need to be free and do other things at the same time, a need revealed through his drawings. Both activities have their own temporality and, in turn, bring forth their own intent. One of the most interesting aspects of these works is the physical space suspended between the work agenda and the drawing, a space of abstraction and expectation. An intermediate dimension found in a complex stratification, which reveals space as compressed and underlying between the scribbles and the political documents. An area of thought that reveals a hidden urgency, and in which Rama becomes a planner of reality, as the artist Anri Sala has defined him. Edi Rama (Tirana, 1964) lives and works in Tirana. He has been a professor of painting at the Academy of Fine Arts and is the author of several books. His works have been showcased in numerous solo and group exhibitions, such as the Biennale of Sao Paulo (1994), Hous der Kunst in Münich (2004), Centre Pompidou in Paris (2010), Musée d’Art Contemporain in Montréal (2011), and the Tophane-I Amire Cultura e Art Center in Istanbul (2015). It will be published a catalogue containing the critical texts by Angel Moya Garcia & Bartholomew F. Bland.