Stud. ethnol. Croat., vol. 29, str. 193–224, Zagreb, 2017. Romeo Kodra: Architectural monumentalism in transitional Albania ARCHITECTURAL MONUMENTALISM IN TRANSITIONAL ALBANIA ROMEO KODRA DOI: 10.17234/SEC.29.6 Tirana Art Lab Original scientific paper Albania, 1001 Tirana, Sulë Gjashta 28 Received: 25. 3. 2017.
[email protected] Accepted: 15. 9. 2017. orcid.org/0000-0002-5001-0894 This article is an open access article distributed under the terms and conditions of the CC BY- NC-ND 4.0 license. This essay is focused on the artistic concept of monumentalization, in this case in architecture and urban planning, and, through some historical examples, investigates and traces the role of this concept inrelation with the construction of representative political power. The chosen context is that of Albania, and more specifically Tirana, during the last 100 years, where three main political models - fascism, state socialism and contemporary neoliberal practices - with their analogies and developments in terms of relation with arts, have produced subjectivities and generated meanings in public space. Keywords: monumentalization, arts, politics, significance, subjectification INTRODUCTION This essay is part of a larger research focused on arts’ space (architecture, visual arts, performing arts, etc.) and its rationalization or conditioning by political power. The context chosen is that of contemporary Albania, Tirana and its monumental boulevard. Regarding monuments and monumentalization, the basic concept of the essay is that of Jacques Le Goff, who once asserted: “[A] monument is primarily a disguise, a deceptive appearance, a montage. First of all, it must be dismantled, demolishing the montage, deconstructing the construction and analyzing the conditions in which those documents-monuments were produced” (Le Goff 1978:38–43).