Paolo Maria Deanesi Gallery





Festival International de Films documentaires

18 > 27 mars 2016


Armando Lulaj

In his video triptych, artist Armando Lulaj mixes material from the Albanian National Film Archive and newly shot footage to provide new perspectives on defining moments in the country’s isolationist, communist-era history – from the shooting of a whale in the sea (It Wears As It Grows), through the reworking of a slogan imprinted on land (NEVER), to the launch of a captured U.S. military plane into the air (Recapitulation). The installation represented Albania at the 2015 Venice Biennale.



On the Serious Side of History
# Solo Project

(TONEL | Baltic Dry Index, 2009 | watercolour on paper | 56×77 cm)

The installation displays a look at history, reflecting on events from the late 19th Century and up to the present. The bulk of the episodes and characters that are addressed can be associated with the Cold War and post-Cold War periods and with events – mostly in Europe, Latin America and North America – that have defined the second half of the 20th Century and the beginning of the current Century. The installation links certain developments in late-19th Century history, such as the Cuban – Spanish – American War of 1898, with everything that unfolded later, not only in Cuba and the Caribbean but also in Europe and the Americas. The way in which the biographies and the intellectual work of Karl Marx, José Martí, V. I. Lenin, Vladimir Mayakovski, Antonio Gramsci, Yuri Gagarin, Mikhail Gorbachev et al can be seeing as converging over Cuba is emphasized to create an artistic fabric that uses documents and fiction, historical data and speculation in order to rewrite history and to present it as a personal narrative of sorts. Overall, this is a proposal that looks at global developments in history from a local and personal vantage point.
The display includes drawings, mixed media works on paper and canvas, artists’ books, and sound. There are two artists’ books, each one with its own soundtrack. These tracks of electronic music have been created in collaboration with Bob Turner, a Vancouver-based musician. Headphones are provided, so that the audience has access to the sound component of the piece.
The book Taking Comfort. Insightful Wisdom from the Financial Papers of A.G. Muskeet (2010 – 2014) presents fragments of the work of the fictional character A. G. Muskeet, who is introduced as the first financial advisor that signed on to an official position in the revolutionary government formed in Cuba in 1959, after Fulgencio Batista fled the country and Fidel Castro and his guerrilla army took power in Havana. 
The book Heroes of Baikonur is conceived as a collection of images – drawings, collages, photos, diagrams – and texts that refer to the space race and to the “Cuban Space Program”, in the context of some of the well-known space programs developed by the U.S.A. and the Soviet Union since the 1950s. In this work, the autobiographical, the fictional and the documentary are blended without distinction.
The series Dispatches from the War Zonewhich was the basis for an artists’ book of the same title – is a look at history starting in the late 19th Century with the collision of and old empire (Spain) and a younger one (U.S.A.) in the Caribbean, and continuing with the influence of Communist ideology and of the Soviet Union in the shaping of the Cuban nation throughout the 20th Century.
The works that deal with the history and the economy of the Cold War are tied with the Blurred [Borroso] Series (2009-2016). This series, represented here by a few drawings and a painting on canvas, alludes to very obvious aspects of one of the most recent international financial crisis, with its profound repercussions on the global economy.
Overall, this project is a continuation of a number of works that I have created since the early 1980s, thinking of history as a source of inspiration. More recently I have dedicated entire one-person exhibitions to reflect on particular chapters of late 20th Century history, like the space race and its central placement in the Cold War strategies of the two main military blocs.   (Statement by the artist, Vancouver, 2016).


24  >  28  febrero 2016


Sólo profesionales:
Miércoles 24 y jueves 25, de 12 a 20 h.

Nuevo Horario Profesional:
Sábado 27, de 11 a 12h.

Abierto al público:
Viernes 26, sábado 27 y domingo 28, de 12 a 20 h.

Feria de Madrid
Pabellones 7 y 9

Paolo Maria Deanesi Gallery
Via Santissima Trinità 12
38122 Trento – I

t +39.348.2330764



Albanian Trilogy: A Series of devious Stratagems

The Albanian Pavillon | Venice Biennial 2015 | Arsenale


Visita il progetto Albanian Trilogy: A series of devious Stratagems di Armando Lulaj – Padiglione Albania – 56th Biennale di Venezia  su Google Cultural Institute. (clicca sull’immagine sottostante)

Visit the project Albanian Trilogy: A series of devious Stratagems by Armando Lulaj – Albanian Pavilion – 56th Venice Biennale on Google Cultural Institute. (click on the image below)



Artisti in mostra:

David Aaron Angeli, Matthew Barney, Joseph Beuys, Corrado Bonomi, Alik Cavaliere, Stefano Cagol, Christo, Davide Coltro, Tony Cragg, Olafur Eliasson, Robert Gschwantner, Petrit Halilaj, Hubert Kostner, Ajay Kurian, Richard Loskot, Ibrahim Mahama, Francesco Mattuzzi, Marcelo Moscheta, Vlad Nanca, Juri Neil, Marco Nones, Michele Parisi, Giuseppe Penone, Michelangelo Pistoletto, Rob Pruitt, Andrea Salvetti, Arcangelo Sassolino, Stefano Scheda, Mario Schifano, Federico Seppi, Elisa Sighicelli, Michael E. Smith, Antoni Tapies, Su-Mei Tse, Willy Verginer, Gal Weinstein.



Albanian Trilogy: A Series of devious Stratagems

9 May>22 November 2015

The Albanian Pavillon | Venice Biennial 2015 | Arsenale

Preview 6-8 May 2015


The Ministry of Culture of the Republic of Albania has the pleasure to announce the participation of the Republic of Albania at the 56th International Art Exhibition in Venice, with Albanian Trilogy: A Series of Devious Stratagems, a project by Armando Lulaj, curated by Marco Scotini.

Albanian Trilogy represents for Lulaj the conclusion of many years of research into the Cold War period in Albania, specifically on the themes of collective memory and historical experience. The first work in this series is the film It Wears as It Grows (2011). The second work in the trilogy is the well-known project NEVER (2012), which has been widely exhibited internationally. The third work, Recapitulation(2015), will be produced especially for the Bienniale.

Lulaj’s and Scotini’s project was selected through an open call for proposals by an international jury chaired by Boris Groys and including Kathrin Rhomberg, Adrian Paci, Albert Heta, and a representative of the Ministry of Culture. The jury, whose decision was unanimous, motivated their selection as follows:

“With Albanian Trilogy: A Series of Devious Stratagems, Armando Lulaj pursues the investigation of available readings of Albanian history from the Cold War to the present day by reintroducing once highly representative and politically charged images and narratives still ingrained in the people’s visual memory, in a way that goes far beyond a subjective questioning of one nation’s history to forcefully account for a general analysis of the ruins and failures of modernity.

Lulaj’s ability to create connections and contexts that are not obvious but at the same time persuasive, the visual appeal of the works themselves as well as the installation, which manages to be both playful and monumental at the same time—a rare achievement, ensure that Albanian Trilogy: A Series of Devious Stratagems will be able to engage a wider public, apart from those who are interested in and informed about Albanian history.”

The artist
Armando Lulaj (b. 1980) lives and works in Tirana. He is a playwright and creator of writings and videos on danger areas and conflict images. Among his most important solo exhibitions: UNTITLED,Galleria Cavour, Bologna (2014); Fiend, National Theatre, Tirana (2013); Cold Wind 2, Art Fair Bologna (2013), Cold Wind, Volta8, Basel (2012); No More Feelings, Paolo Maria Deanesi Gallery, Rovereto (2012); No Mercy, Artra Gallery, Milano (2011); Silent Soziale Corruption, Lothringer13 and Städtische Kunsthalle München (2010). He has participated in many international exhibitions, including Lost in Landscape, MART Museum, Rovereto (2014); The Empty Pedestal, Museo Civico Archeologico. Bologna (2014); Utopian Days, Total Museum of Contemporary Art, South Korea (2014); 63rd Berlinale Film Festival, Berlin (2013); 6th Berlin Biennial (2010); 8th Baltic Biennale of Contemporary Art, Szczecin, Poland (2009); 4th Gothenburg Biennial (2007); Albanian Pavilion, 52nd Venice Biennale (2007); Tirana Biennial (2005); and Prague Biennial (2003 & 2007).

The curator
Marco Scotini is Director of the Department of Visual Arts and Curatorial Studies at NABA in Milan. He is Editor-in-Chief of the magazine No Order: Art in a Post-Fordist Society (Archive Books, Berlin) and Director of the Gianni Colombo Archive (Milan).He has been recently appointed as Artistic Director of PAV, Turin.

His writings can be found in periodicals such as Moscow Art Magazine, Springerin, Flash Art, Domus, Manifesta Journal, Kaleidoscope, Brumaria, Chto Delat?/What is to be done?, Open!, South as a State of Mind, and Alfabeta. He is the editor of a book dedicated to film, documentary and archive, Politics of Memory (Rome: DeriveApprodi, 2014; Archive Books, 2015). His most recent exhibitions include Da Capo: Deimantas Narkevicius, MSU, Zagreb (2015); the ongoing project Disobedience Archive: Berlin, Mexico DF, Eindhoven, Karlsruhe, Nottingham, Bucharest, Riga, Zagreb, Atlanta, Boston, Umea, Copenhagen, Turin, Madrid, Istanbul (2005–14); Vegetation as a Political Agent, PAV, Turin (2014); The Empty Pedestal: Ghosts from Eastern Europe, Archeological Museum, Bologna (2014); A History of Irritated Material, with Lars Bang Larsen, Raven Row, London (2010) and Gianni Colombo, co-curated with Carolyn Christov-Bakargiev, Castello di Rivoli, Turin (2009). He has curated more than 100 solo shows and retrospective exhibitions of artists from Eastern Europe, Latin America and Middle East and collaborates with Armando Lulaj since 2001.


Armando Lulaj selected to represent the Republic of Albania at the 56th Venice Biennale




Musée d’art contemporain Saint-Martin de Montélimar (France)

28 juin > 26 octobre 2014


Présentée au Musée d’art contemporain Saint-Martin de Montélimar (28 juin – 26 octobre 2014), l’exposition (extra)ordinaire, peut se lire comme un conte à la Lewis Carol. Derrière des œuvres à l’apparence colorée, ludique et attrayante, se devine une réalité plus ambigüe où se renverse l’ordre d’un monde. Réunissant six artistes contemporains, les démarches présentées sont ici des visions critiques et subjectives, qui visent à révéler ce qui se cache derrière le « positivisme ordinaire » d’une époque qui aliène par ses ambigüités.

Ainsi Liu Ming, Antonio de Pascale et William Sweetlove s’attaquent-ils à l’envers du décor de notre modèle consumériste, frénétique logique de l’Avoir et du divertissement, qui laisse dans son sillage son lot de solitude, de destruction écologique et de déshumanisation.

Philippe Huart, Aurélie de La Cadière et Gaël Davrinche travaillent à lever le voile sur le diktat de l’image et de l’obsession du paraître. Images sociales, images intimes, autant de surfaces de projections dont les reflets coupants amputent l’individu de tout ce qui pourrait sortir des normes et des canons.

Par différents langages, ces six artistes retournent les apparences d’une société qui, bien que décrétant savoir et inculquer ce qui est Bien ou Mal pour le salut de tous, véhicule ses injonctions paradoxales, bombes à fragmentation de l’être, qui laissent l’individu perdu dans ses contradictions. Pastille à double effet (âme sensible s’abstenir !), l’exposition est un pur shoot de conscience. Gare à la descente. On en ressort pas indemne. Et ça, ce n’est pas ordinaire…




Armando Lulaj awarded with the prize for Visual Arts “Danish Jukniu”

NEVER the project by the artist Armando LULAJ produced by Paolo Maria Deanesi Gallery and presented by T.I.C.A at The Festival of books and Visual Arts – was awarded with the prize for Visual Arts “Danish Jukniu”.

The prize for Visual Arts is named after, Danish Jukniu (artist and professor) in respect of his contribute for the Albanian visual arts scene.

The first edition of The Festival of books and Visual Arts was held in Tirana on 23- 27 April 2014.

Armando Lulaj – MART Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Italy

Perduti nel paesaggio
Lost in Landscape

MART - Perduti nel Paesaggio
Mart Rovereto
05 APRILE 2014 / 31 AGOSTO 2014
La mostra, a cura di Gerardo Mosquera, affronta il tema attraverso le opere di oltre 60 artisti provenienti da tutto il mondo, molti dei quali mai presentati in Italia. Oltre 170 fotografie, 84 opere pittoriche, 10 video, 4 video-installazioni, 4 installazioni, 4 interventi context specific (Gonzalo Diaz, Takahiro Iwasaki, Glexis Novoa e Cristina Lucas), 1 progetto web specific (Simon Faithfull), 1 libro d’artista (Ed Ruscha).
Non è certo un Eden quello raccontato nelle sale del Mart, e neanche un nuovo genere artistico, bensì uno sguardo appassionato e sofferto sul mondo, che scopre necessariamente anche i suoi angoli più drammatici e contraddittori.Gerardo Mosquera scrive infatti nel testo in catalogo (Edizioni Mart) che il significato del termine “paesaggio” definisce allo stesso tempo “sia la percezione di un determinato luogo, sia la sua rappresentazione”, rendendo inseparibili fra loro l’oggetto dal soggetto, l’ambiente dal suo abitante. Oggi, nella concezione del paesaggio del nostro tempo, il grado di soggettività della percezione, infatti, coinvolge i protagonisti attivi delle trasformazioni del territorio, ovvero, quelle strutture e coloro che agiscono su di esso e ne definiscono la stessa nozione, ormai allargata a tutto ciò che ci circonda, dalle autostrade alle foreste, dalle metropoli agli ambienti rurali. La mostra intreccia tre differenti livelli di lettura: 1) Esaminare la propensione umana ad appropriarsi dell’ambiente e ad identificarsi e dialogare con esso, che si plasma in qualsiasi rappresentazione del paesaggio. 2)Affrontare il paesaggio non come genere artistico ma come mezzo per la costruzione di un senso. 3) Offrire al visitatore un’esperienza al contempo estetica e di riflessione mediante le opere esposte e il loro rapporto e la loro articolazione nello spazio espositivo. Vissuto e costruito, contemplato e utilizzato, il paesaggio è dunque inseparabile dall’uomo. Infatti, nel percepire, conoscere e descrivere il paesaggio, l’uomo è al tempo stesso oggetto inscritto nella realtà e soggetto esterno e narrante.

Artisti in mostra
Marina Abramović, Tarek Al Ghoussein, Lara Almárcegui, Analía Amaya, Carlo Alberto Andreasi, Massimo Bartolini, Gabriele Basilico, Bae Bien-U, Bleda y Rosa, Fernando Brito, Luis Camnitzer, Pablo Cardoso, Jordi Colomer, Russell Crotty, Gonzalo Dìaz, Simon Faithfull, Fischli & Weiss, Carlos Garaicoa, Emmet Gowin, Carlo Guaita, Andreas Gursky, Rula Halawani, Todd Hido, Huang Yan, Carlos Irijalba, Takahiro Iwasaki, Isaac Julien, Anselm Kiefer, Iosif Kiraly, Hong Lei, Glenda Leòn, Yao Lu, Cristina Lucas, Armando Lulaj, Rubens Mano, Arno Rafael Minkkinen, Richard Mosse, Sohei Nishino, Glexis Novoa, Sherman Ong, Gabriel Orozco, Alain Paiement, Junebum Park, Paul Ramìrez Jonas, Vandy Rattana, Szymon Roginski, Ed Ruscha, Guillermo Santos, George Shaw, Gao Shiqiang, David Stephenson, Davide Tranchina, Carlos Uribe, Agnès Varda, Verne Dawson, Michael Wolf, Catherine Yass, Kang Yong-Suk, Du Zhenjun.


The Total Museum of Contemporary Art, Seoul, is pleased to present Utopian Days – Freedom, a video art festival, presenting works from 25 internationally renowned artists and collectives. From March 20th to April 13th, artists, critics and academics will explore the theme of Freedom through an exhibition, talks, workshops and screenings.

All actions and scenarios from the videos deliver an outspoken experience of art, to enhance an awareness of self, and express a unique desire and search for freedom; taking on a number of different, unique possibilities of implementing it.

Utopian Days hopes to appeal to a broad audience, including people from both inside and outside the art world. The festival provides an interdisciplinary perspective, unifying sciences, criticism and fiction, and proposes a vision that goes beyond the boundaries of our contemporary conception of visual culture.

It features works by Adel Abdessemed, Lida Abdul, Phil America, Ivan Argote, Chim↑Pom, Minerva Cuevas, Chto Delat?, Cyprien Gaillard, Yang Ah Ham, Andre Hemer, Tehching Hsieh, Zhang Huan, Jani Leinonen, Klara Lidén, Armando Lulaj, Matt McCormick, Filippo Minelli, Wang Qingsong, Andres Serrano, Manit Sriwanichpoom, Clemens von Wedemeyer, Kacey Wong, Xijing Men and He Yunchang.


Jacopo Mazzonelli e Igor Eskinja sono due di venti artisti internazionali U40 selezionati per il BLUMM Price  la cui mostra con selezione finale si svolgerà all’Ambasciata italiana a Bruxelles il 25 settembre 2013.


Armando Lulaj – Fiend – National Theater, Tirana
T.I.C.A. Tirana Institute of Contemporary Art and Jan Van Eyck are pleased to present FIEND, a unique collaboration between artist Armando Lulaj and pianist and AMM pioneer John Tilbury. The project owes its title to the very first Western covert operation behind the Iron Curtain “Valuable/Fiend,” carried out in Albania from 1949 to 1953 and notorious for its failure. In these present days of investigation into the Wikileaks disclosures and the Snowden trial, FIEND presents the first artistic (re)action by digging into those data.

Curated by Sonja Lau, Jan Van Eyck researcher

Armando_Lulaj_Fiend_1   Armando_Lulaj_Fiend_2

Martedì 12 e mercoledì 13 febbraio verrà presentato l’ultimo lavoro di Armando Lulaj, prodotto da Paolo Maria Deanesi Gallery, al 63° Film Festival di Berlino (Berlinale) – Forum Expanded.

Dopo 44 anni dalla sua prima realizzazione gli abitanti di Berat, cittadina a sud di Tirana (Albania), oggi non vedono più la grande scritta con il nome del dittatore ENVER sulla montagna che sovrasta la città, bensi NEVER un nuovo monito alla libertà che provoca le coscienze.



During Communism in 1968, by order of the Labour Party the army helped by the voluntary youth undertakes one of the greatest voluntary works of the Communism system in the particular Shpirag mountain that faced the antique city of Berat. To finalize the result of this forced manual work, military airplanes of the Communism period had flied aloft following a parallel course close to the mountain side on which has been designed with rocks and paint with white colour the largest letters that form the dictator’sname “ENVER”. On the same mountain, exactly on the same side, but 44 years later, time has erased the dictator’s name and the surface is fulfilled with bushes and plants.

Some old mans, those who helped in 1968, and a young boy, pushed by their free will, equipped with old topographic tools, same as those used during Communism, climbs the mountain and starts to measure the surface and compute distances. Few in number but familiar with the ground, sure to archive their intention, they extirpate the bushes and plants, drive in pillars to then unite the sizes measured with cords. One of them ties in his body a primitive Chainise disinfestation pomp, now fulled with white colour and starts painting the marked surfaces.

He works day and night to fulfill this undertake same as 44 years ago, but with a completely different meaning to archive. Finally, when work is done, by changing the place of the first two letters, he has overwrite on the same mountain side, above the same positions, above the same name, a bigger word more symbolic that the dictator’s name, the word “NEVER”.

Press 1 | 2 | Berlinale


Jacopo Mazzonelli – Premio Francesco Fabbri
Sabato 24 novembre 2012 nel corso del vernissage della mostra collettiva dei finalisti a Villa Brandolini a Pieve di Soligo (TV), Jacopo Mazzonelli con l’installazione “IF” del 2011 è stato proclamato dalla giuria composta da Antonio Arévalo, Daniele Capra, Martina Cavallarin e Valerio Dehò, vincitore della Prima Edizione del Premio Francesco Fabbri per le Arti Contemporanee. – [Comunicato Stampa Vincitori]

Diango Hernandez – Drawing the Human Figure
curated by Nuna Faria
Fondazione Brodbeck, Catania
25.03.2012 – 22.05.2012
Drawing the Humane Figure – text

When (Italian) Responsibilities Become Form – Emanuela Ascari, Armando Lulaj, Dacia Manto, Alessandro Moreschi, Pietro Mottola, Cesare Pietroiusti, Michelangelo Pistoletto & Diego Paccagnella
curated by Raffaele Quattrone
Galleria OltreDimore – Piazza San Giovanni in Monte, 7 – Bologna, Italy
9 marzo – 21 aprile 2012