Photographers of Southeastern Albania

Kristo Sulidhi (1858–1938)
Petro Dhimitri (1886–1953)
Perikli Kaçauni (1870–1940)
Dhimitër Vangjeli (1872–1957)
Vani Burda (1875–1949)
Kristaq Sotiri (1883–1970)
Thimi Raci (1886–1966)
Mandi Adham Koçi (1912–1988)

Photographers of Southeastern Albania are introduced in this exhibition which marks the first step for the completion of the constellation of Albanian photographic tradition. We have selected eight authors – starting from the end of the 19th century – and this choice is due to the difficulties to track down the work they have left behind.

Family photographs – mostly taken in a studio – were at the core of their activity. What makes them unique is the multiple approach to the reality, reflected in their choice of clients or subjects.

In some cases, studio portraits contemplate the modernity of Albanian bourgeois families of that period following the trends of the Western fashion. We see photographs of patriots, soldiers, marriages, baptisms, funerals, schools, manifestations and landscapes. Some of them gave a contribution to the political and social events of the time leaving us today some precious images documenting the history of their region and Albania as well.

The territory where these photographers worked was affected by a high level of immigration. The sensitivity of the inhabitants towards this phenomenon can be perceived nowadays in a very famous square in Korça named “Lëndina e Lotëve” (The Meadow of Tears). Even the photographers used to immigrate and in the best-case scenario, they would come back years later with a new metier and the necessary equipment and tools to continue it. This is why in most photographs, subjects are strictly related to immigrations and photography depicts phenomena which induced social decline.

Family events fixed in photographs were shipped to the States. It would take up months to reach their beloved relatives and inform them about family’s joy and sorrow.

In their collections we find many photographs from funeral ceremonies which had become part of the tradition and in some regions, they were intrinsic to the very structure of the mortal ritual. Besided the intention of the photographer to show us something aesthetically pleasing, these images are basically an order from a client who needs to inform his relatives about the funeral procedure by sending them a document which proves the final separation.

In the continuous photographic journey among places and events, this exhibition puts together original prints and reproductions. Far from being a formal issue, this choice was dictated by the loss of negatives from some of the authors. For this, the originals prints are nowadays unique copies or the only evidence of the photographer’s work, a memento bringing together the celebration of a precious and authentic artifact with the sad reminder of a longtime time work, definitively damaged.