One of my handcrafted textiles from “Aftermoments” series has been part of the collective exhibition titled “Synime/Ambitions”, curated by Adela Demtja & Eremire Krasniqi, The exhibition has been hosted by the National Gallery of Arts in Tirana, February – April 2021.
Solo show – Private Print Studio – Skopje – North Macedonia / 22.06-19.07.2019
The exhibition titled “I look at them, they look back at me” by the Albanian artist Ledia Kostandini at PrivatePrint Studio, brings together a series of mixed media works which unfold impressions, mind images and metaphors of the balcony and the life therein. The concept builds from there to examine the relation between private and public through the works themselves and through their positioning in both the indoor and outdoor spaces of the Studio. This way, the exhibition inherently connects with the practice of PrivatePrint Studio itself, where the borders between the private and public intertwine and are always redefined.
Photos by Zoran Shekerov
solo show / Bazament Art Space, Tirana / April 19 – May 10, 2018 http://bazament.al
Press release / Ledia Kostandini has been occupied by a set of postcards for the past seven years. As if sent to her from the past, these seemingly marginal flaps of paper have sent her on countless journeys, seeking traces of a bygone Albania and discovering a new land along the way. Her solo exhibition at Bazament marks the first time that Kostandini presents these personal works to the public.
In 2011, Kostandini unearthed a collection of postcards sent to her grandfather, aunts, uncles, and her father, over a period of forty years. The well wishes arrived annually at their home in Pogradec, Albania, always for the new year, from all corners of the country. Sent during Albania’s political isolation between the 1950s and the 1990s, the postcards appear as mere formalisms. But collectively they transform into intimate tidings, with their life stories written on the backside of each card—enumerating essential banalities like profession, status, family life, and personal and professional friends and acquaintances. Like the tension of the postcard’s public intimacy, Kostandini’s work opens up a private world only to remind you that it was always public.
Each work in Let Us Meet in Between stages time twice, and space once. In a personal exploration of shifting time, Kostandini has re-photographed, with extreme precision, the exact view of every card. This doubling echoes a lived reality: her grandfather died immediately following a heart attack on the night of 31 December 1982; he was buried the next day. But his remote death did not to stop the cards that had already been postmarked. The installation at Bazament reveals this lived paradox of past, present, and future.
The world, and especially the world of Albania, was very different when the postcards were originally received. Years later, Albania appears nearly unrecognizable from its past. As Italo Calvino similarly observed about the “invisible” Maurilia: “just as the old postcards do not depict Maurilia as it was, but a different city which, by chance, was called Maurilia, like this one.” Albania, like Maurilia, becomes a fiction of its own making.
photo credits: Bazamentartspace, GertaXhaferaj
It started out of some outdated wallpaper catalogs. The work consists in several individual pieces that fit to one another without any particular order and can be extended infinitely.Window prints, wallpaper textures, paint, cardboard, etc, are used to create some sort of “leaflets”.
Interior walls reveal their accurate patterned coziness, while the facade competes using windows as its decorative pattern. It’s a moment of confrontation between two different sides of a single structure. There is a spatial cohabitation with shifting spaces, folded walls and superposed windows.
“Paperwalls” at Kalo Gallery untill March 19, 2017. Part of the group expo “Power of grace”.
In “Building our nation”, Kostandini’s subject is the moving image as
carrier and diffuser of ideologies and propaganda. In a playful way she juxtaposes black and white images of characters from the propaganda films during communist period
in Albania with colorful backgrounds of Hollywood films or images borrowed from the incessant flow of local media. Each painting contains also a soundtrack, consisting of bits
of audio pertaining to the films or the news chronicles from which the images have been borrowed. By installing all the audio players in the same place the viewer is challenged
to identify the image/audio combination as well as conceive of his/her own reading of the works. The installation problematises the role of images in a media dominated
society, hinting on the similarities of their use for propagandistic or ideological ends, either from the former communist nomenclature, or from today’s neoliberal free market,
and profit driven corrupted governments.
text by Edi Muka
– exhibition view –
There is a clash of concepts that tends to tease a phenomenon or a social custom. “Pink cotton concrete” creates a strange relationship between functions and products. This work reveals the childish desire by “translating” concrete into cotton sugar.
Candy cart, hunting kids around town! Acryl & oil small painting.