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Kultura

 Najada Hamza, with a personal exhibition that is divided into three parts in the FAB gallery

 Najada Hamza, with a personal exhibition that is divided into three parts

The works of the artist Najada Hamza from tomorrow the public can find in the FAB gallery, in Tirana. The personal exhibition "because hope gives with strength l do not fear" is curated by Arba Baxhaku and Ardian Kapo. This exhibition becomes part of the artistic life and is a continuation of those previously opened at the FAB gallery, near the University of Arts. In the curatorial text Arba Baxhaku states that the cycle of exhibited paintings is in itself the fruit of innumerable layers. According to the curator, the works were created through the long and patient overlap of intangible layers, including personal references, distant memories or inspirations. "All of these are stacked on top of each other, translated into form through physical layers of materials, such as canvas, linen, velvet, fabric printing, collage, paint and resin. The selection highlights how it turns into touch, thanks to the artistic process, the long line of mental and emotional reflections. This sense of touch is found from the very beginning of life, as the textile is the first coil that welcomes the newborn man. "It is no coincidence that even in the Dictionary of today's Albanian language," bed "is the first meaning given to the word layer", says the curator. The curatorial text continues in the same layer, the analysis and interpretation of these works is developed, in which, the initial basis consisting of a theoretical matrix, is superimposed on the personal interpretation of the artist, intertwined with the poetics of the works. "Interpretation arises in itself as a conversation between the curator and the artist, a dialogue where two complementary perspectives overlap without encountering and in complete harmony. From one side, the analytical approach of the architect-curator, which explores the universal connection between art and the human act of construction through a theoretical framework. So, in other words, the search for a kind of reason for the existence of decor in architecture. On the other hand, the point of view of the artist, who manages to add to this external analysis her personal component, the layered references of artistic formation, as well as the impetus of the current extraordinary context, to bring the creation of exactly this cycle paintings. "They are separate readings, which meet in Najada's work to connect together the constituent parts separated in a narrative of creation", it is said about the exhibition. the search for some sort of reason for the existence of decor in architecture. On the other hand, the point of view of the artist, who manages to add to this external analysis her personal component, the layered references of artistic formation, as well as the impetus of the current extraordinary context, to bring about the creation of exactly this cycle. paintings. "These are separate readings, which meet in Najada's work to connect together the constituent parts separated in a narrative of creation", it is said about the exhibition. the search for some sort of reason for the existence of decor in architecture. On the other hand, the point of view of the artist, who manages to add to this external analysis her personal component, the layered references of artistic formation, as well as the impetus of the current extraordinary context, to bring about the creation of exactly this cycle. paintings. "They are separate readings, which meet in Najada's work to connect together the constituent parts separated in a narrative of creation", it is said about the exhibition.

 Presentation in the gallery

The exhibition is divided into three parts and three typologies of objects, distributed in the three rooms of the gallery space, which narrate the author's experience related to the unusual pandemic year. Fragments of medieval armor, helmets and harnesses serve as metaphors for the mental and physical shields that everyone around the globe was forced to add to vital organs to stop the virus from penetrating. The cycle of paintings is expressed in the curatorial text Arba Baxhaku, aims to show step by step the process of fear and mental stiffness that we experienced throughout the period of the pandemic, when the brain became the guardian of the body. "To the mental protection is added the physical one of the rich medical arsenal of masks, spacesuits, disinfectants and various detergents, which were added to the daily clothing. Thus, the iron shell that once wore the medieval knight, now wears the contemporary man, always in defense. A contradiction stands out in this form: these geometries of protection, beaten in iron with fine artistic details and decorated with vegetable motifs, just like Semper textiles, in the collective imagination are always empty, although in principle they were born for him. protect life ", it is said, among other things, in the text of the exhibition. Through the process of transposition, the author dismantles the armor into separate parts, which reveal a personal experience: the empty helmet-head and torso-harness of a mind trapped in ominous predictions wanders up and down through the scenarios of the day seeking salvation. In the curatorial text by Arba Baxhaku, among other things about this exhibition in FAB, it is said that this also joins the distorted flow of time of this year, when the inspiration to create paintings came suddenly and sought to appear rapidly. "One by one, the works took shape without being thought of as an inner need to express themselves. As an instinctive call to bring out a feeling in yourself. They were created in full harmony with the universal purpose of art as a savior during a difficult year and unfold to the public in the twilight of a dark time, with a triumphant celebration of colors and light under the liberating phrase of the helmet “because hope gives me strength I do not fear "", continues the curator Baxhaku. The exhibition that opens tomorrow will stay until May 1 at FAB. They were created in full harmony with the universal purpose of art as a savior during a difficult year and unfold to the public in the twilight of a dark time, with a triumphant celebration of colors and light under the liberating phrase of the helmet “because hope gives me strength I do not fear "", continues the curator Baxhaku. The exhibition that opens tomorrow will stay until May 1 at FAB. They were created in full harmony with the universal purpose of art as a savior during a difficult year and unfold to the public in the twilight of a dark time, with a triumphant celebration of colors and light under the liberating phrase of the helmet “because hope gives me strength I do not fear "", continues the curator Baxhaku. The exhibition that opens tomorrow will stay until May 1 at FAB.