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Curated by: Sylvia Sachini[\/vc_column_text][vc_separator][vc_column_text]Things Take Time\u00a0(AL)<\/strong><\/p>\n R\u00ebnia e komunizmit n\u00eb Evrop\u00ebn Lindore n\u00eb fillim t\u00eb viteve \u201890 \u00e7oi edhe n\u00eb r\u00ebnien e komunizmit n\u00eb Ballkan. Si pasoj\u00eb, u shemb gradualisht edhe regjimi komunist n\u00eb Shqip\u00ebri, gj\u00eb q\u00eb solli nj\u00eb kapitull t\u00eb ri n\u00eb historin\u00eb e vendit, nj\u00eb periudh\u00eb tranzicioni dhe ndryshimi.<\/p>\n Veprat e k\u00ebsaj ekspozite jan\u00eb realizuar n\u00eb vitet 1991-2010. Pas r\u00ebnies s\u00eb komunizmit, fotograf\u00ebve iu mund\u00ebsua dokumentimi i lir\u00eb dhe i paansh\u00ebm i Shqip\u00ebris\u00eb, pasi m\u00eb par\u00eb vendi ishte n\u00eb gjendje t\u00eb izoluar dhe t\u00eb shk\u00ebputur nga bota. K\u00ebto vepra jan\u00eb t\u00eb nj\u00eb r\u00ebnd\u00ebsie t\u00eb madhe, pasi sh\u00ebrbejn\u00eb si d\u00ebshmi historike dhe \u00e7ojn\u00eb n\u00eb nj\u00eb kuptim m\u00eb t\u00eb thell\u00eb t\u00eb Shqip\u00ebris\u00eb s\u00eb sotme dhe t\u00eb vendeve t\u00eb tjera t\u00eb Ballkanit, historia e t\u00eb cilave ka qen\u00eb gjithmon\u00eb e nd\u00ebrlidhur dhe e nd\u00ebrvarur. Periudha n\u00eb t\u00eb cil\u00ebn filluan t\u00eb realizoheshin k\u00ebto vepra, ishte vendimtare p\u00ebr historin\u00eb e vendit, pasi ishte nj\u00eb koh\u00eb tranzicioni, nj\u00eb situat\u00eb e paprecedent\u00eb p\u00ebr popullsin\u00eb. R\u00ebnia e komunizmit dhe pasojat e tij ishin t\u00eb dukshme n\u00eb shoq\u00ebri, pasi njer\u00ebzit u p\u00ebrball\u00ebn me ndryshime t\u00eb m\u00ebdha dhe papritmas u prezantuan me nj\u00eb m\u00ebnyr\u00eb t\u00eb re jetese. P\u00ebrvet\u00ebsimi i stilit t\u00eb jetes\u00ebs per\u00ebndimore ishte i pashmangsh\u00ebm, nd\u00ebrkoh\u00eb q\u00eb njer\u00ebzit dal\u00ebngadal\u00eb po \u00e7liroheshin nga frika e regjimit, i cili deri at\u00ebher\u00eb kishte krijuar nj\u00eb gjendje t\u00eb vazhdueshme mbik\u00ebqyrjeje, t\u00eb rr\u00ebnjosur thell\u00eb n\u00eb shoq\u00ebri. Njer\u00ebzve iu dha mund\u00ebsia t\u00eb informoheshin nga mediat nd\u00ebrkomb\u00ebtare dhe burime t\u00eb pavarura, nd\u00ebrkoh\u00eb q\u00eb emigracioni, i cili deri at\u00ebher\u00eb ishte i ndaluar, u rrit ndjesh\u00ebm. Ishte i duksh\u00ebm fakti q\u00eb Shqip\u00ebria po kalonte nga nj\u00eb gjendje izolimi dhe shtypjeje n\u00eb nj\u00eb shtet t\u00eb ri, ku populli thirrej t\u00eb ishte m\u00eb i hapur ndaj ndryshimeve. Kishte nj\u00eb nevoj\u00eb gjith\u00ebp\u00ebrfshir\u00ebse p\u00ebr ndryshim, nj\u00eb ndjenj\u00eb se t\u00eb gjith\u00eb po vraponin drejt di\u00e7kaje t\u00eb re, nj\u00eb vrull. Situata ishte pa diskutim e paprecedent\u00eb, pasi kjo gjendje ndryshimi m\u00eb par\u00eb perceptohej si e pamundur.<\/p>\n Puna e paraqitur nga fotograf\u00ebt MAGNUM, Alex Majoli (IT) Carl De Keyzer (BE), Enri Canaj (AL), Martin Parr (MB) dhe Nicos Economopoulos (GR) p\u00ebrb\u00ebn nj\u00eb p\u00ebrpjekje p\u00ebr t\u00eb pasqyruar k\u00ebt\u00eb periudh\u00eb, nj\u00eb gjendje tranzicioni t\u00eb dokumentuar nga artist\u00eb me prejardhje t\u00eb ndryshme, ku secili p\u00ebrshkruan vizualisht situat\u00ebn, nxitur nga p\u00ebrvojat personale dhe origjina e tij, por me nj\u00eb tem\u00eb t\u00eb p\u00ebrbashk\u00ebt. Ky grup i gjer\u00eb pune i ofron shikuesit nj\u00eb imazh t\u00eb larmish\u00ebm t\u00eb Shqip\u00ebris\u00eb, duke dokumentuar faza t\u00eb ndryshme t\u00eb historis\u00eb s\u00eb vendit gjat\u00eb periudhave t\u00eb ndryshimeve shoq\u00ebrore dhe ekonomike. Ata ishin t\u00eb par\u00ebt q\u00eb mb\u00ebrrit\u00ebn n\u00eb Shqip\u00ebri pas r\u00ebnies s\u00eb regjimit komunist dhe fotografuan p\u00ebr periudha t\u00eb gjata kohore, duke krijuar k\u00ebshtu nj\u00eb imazh t\u00eb p\u00ebrgjithsh\u00ebm t\u00eb Shqip\u00ebris\u00eb, secili sipas estetik\u00ebs s\u00eb vet. Larmia e interpretimit vizual t\u00eb realitetit bashk\u00ebkohor shqiptar \u00ebsht\u00eb nj\u00eb element baz\u00eb i k\u00ebsaj ekspozite. Qasjet artistike ndaj rrethanave politike dhe shoq\u00ebrore t\u00eb vendit jan\u00eb sa realiste aq edhe abstrakte, ku secila prej tyre e p\u00ebrshkruan gjendjen e tranzicionit n\u00eb m\u00ebnyra t\u00eb ndryshme. Duke marr\u00eb n\u00eb konsiderat\u00eb historin\u00eb e vendit, kjo ekspozit\u00eb synon t\u00eb ruaj\u00eb kujtimin e k\u00ebsaj periudhe n\u00eb Shqip\u00ebri. Ajo paraqet nj\u00eb realitet historik q\u00eb mund t\u00eb funksionoj\u00eb si nj\u00eb tem\u00eb diskutimi p\u00ebr gjendjen aktuale t\u00eb vendit, n\u00eb dialog me t\u00eb shkuar\u00ebn, th\u00ebn\u00eb kjo me bindjen se e shkuara, e tashmja dhe e ardhmja jan\u00eb gjithmon\u00eb t\u00eb nd\u00ebrlidhura.<\/p>\n <\/p>\n Things Take Time (EN)<\/strong><\/p>\n The fall of communism in Eastern Europe in the early 1990s also led to the fall of communism in the Balkans. Subsequently, the communist regime in Albania gradually collapsed, resulting in a new chapter in the country\u2019s history, a period of transition and change.<\/p>\n The body of work exhibited was created between 1991 – 2010. After the collapse of communism, photographers could freely and impartially document Albania, as the country was previously isolated and alienated from the world. This work is crucial as it not only provides historical evidence but also enhances contemporary understanding of Albania and the interconnected history of the Balkan countries. The period of time in which this work started was important within the history of the country, as it was a time of transition and an unprecedented situation for its people. The collapse of communism had profound effects on society, as people faced significant changes and a sudden shift to a new way of living. The adoption of a Western lifestyle became inevitable as individuals gradually freed themselves from the regime’s pervasive surveillance and fear. People were exposed to international media and independent sources, while immigration, which until then was banned, significantly increased. The fact that Albania was transitioning from a state of isolation and introversion to a newfound state, where its people were called to be open to change, was clear. There was a comprehensive need for growth, a feeling that everybody was running towards something new, a newfound momentum. The situation was indisputably unprecedented, as the idea of change was previously perceived to be impossible.<\/p>\n The work presented by MAGNUM photographers, Alex Majoli (IT), Carl De Keyzer (BE), Enri Canaj (AL), Martin Parr (UK), and Nicos Economopoulos (GR) reflects the state of transition through the perspectives of artists from diverse backgrounds. Each photographer visually captures the situation, influenced by their personal experiences and origins, yet united by a common subject. This well-rounded body of work provides the viewer with a diverse image of Albania, documenting various stages of the country\u2019s history during periods of social and economic change. They were the first to arrive in Albania, after the fall of the communist regime, and photographed it for long periods of time, resulting in an overall image of Albania, each of them according to their own aesthetic. The diversity in visual interpretations of contemporary Albanian reality is a fundamental element of this exhibition. The photographers\u2019 artistic approaches to the country’s political and social circumstances range from realistic to abstract, each depicting the state of transition in unique ways. Taking into consideration the history of the area, this exhibition intends to preserve the memory of this period in Albania. The exhibit demonstrates a historical reality that can function as a motive to open a discussion about the current state of the country, in dialogue with the past, with the conviction that the past, present and future are tightly interwoven.<\/p>\n [\/vc_column_text][vc_text_separator title=”Autor Bio” color=”black”][vc_column_text]Alex Majoli (IT)<\/strong><\/p>\n At the age of 15, Alex Majoli joined the \u201cF45 Studio\u201d in Ravenna, working alongside Daniele Casadio. While studying at the Art Institute in Ravenna, he joined \u201cGrazia Neri Agency\u201d and traveled to Yugoslavia to document the conflict. He returned many times over the next few years, covering all major events in Kosovo and Albania. Majoli graduated from art school in 1991. Three years later, he created an intimate portrayal of the closing of an asylum on the island of Leros, Greece, a project that became the subject of his first book, Leros. In 1995 Majoli went to South America for several months, photographing a variety of objects for his ongoing personal project, Requiem in Samba. He started the project \u201cHotel Marinum\u201d in 1998, centered on life in coastal cities around the world, with a final goal of performing a theatrical multimedia show. That same year he began making a series of short films and documentaries. After becoming a full member of Magnum Photos in 2001, Majoli covered the fall of the Taliban regime in Afghanistan, and two years later the invasion of Iraq. He continues to document various conflicts worldwide for Newsweek, The New York Times Magazine, Granta and National Geographic. Majoli, in collaboration with Thomas Dworzak, Paolo Pellegrin, and Ilkka Uimonen, had an extremely successful exhibition and installation \u201cOff Broadway\u201d in New York in 2004, which even traveled to France and Germany. He then became involved in a project for the French Ministry of Culture entitled BPS, or Bio-Position System, about the social transformation of the city of Marseilles. His project, \u201cLibera Me\u201d, is a reflection on the human condition.<\/p>\n Alex Majoli (IT)<\/strong><\/p>\n N\u00eb mosh\u00ebn 15-vje\u00e7are, Alex Majoli iu bashkua \u201cStudio F45\u201d n\u00eb Raven\u00eb, duke punuar s\u00eb bashku me Daniele Casadio-n. Teksa studionte n\u00eb Institutin e Artit n\u00eb Raven\u00eb, ai iu bashkua agjencis\u00eb \u201cGrazia Neri\u201d dhe udh\u00ebtoi n\u00eb Jugosllavi p\u00ebr t\u00eb dokumentuar konfliktin. U kthye shpeshher\u00eb p\u00ebrgjat\u00eb k\u00ebtyre viteve, duke mbuluar t\u00eb gjitha ngjarjet kryesore n\u00eb Kosov\u00eb dhe Shqip\u00ebri. Majoli mbaroi shkoll\u00ebn e artit n\u00eb vitin 1991. Tre vjet m\u00eb von\u00eb, ai realizoi nj\u00eb projekt p\u00ebr mbylljen e nj\u00eb azili psikiatrik n\u00eb ishullin Leros, Greqi, i cili u b\u00eb tem\u00eb e librit t\u00eb tij t\u00eb par\u00eb, \u201cLeros\u201d. N\u00eb vitin 1995, Majoli shkoi n\u00eb Amerik\u00ebn e Jugut p\u00ebr disa muaj, ku fotografoi nj\u00eb s\u00ebr\u00eb subjektesh p\u00ebr projektin e tij t\u00eb ardhsh\u00ebm personal, \u201cRequiem in Samba\u201d. Ai filloi projektin \u201cHotel Marinum\u201d n\u00eb vitin 1998, mbi jet\u00ebn n\u00eb qytetet portuale anemban\u00eb bot\u00ebs, q\u00ebllimi p\u00ebrfundimtar i t\u00eb cilit ishte t\u00eb jepte nj\u00eb shfaqje teatrale multimediale. Po at\u00eb vit, ai filloi t\u00eb b\u00ebnte nj\u00eb seri filmash t\u00eb shkurt\u00ebr dhe dokumentar\u00eb. Pasi u b\u00eb an\u00ebtar i plot\u00eb i Magnum Photos-it n\u00eb vitin 2001, Majoli fotografoi r\u00ebnien e regjimit taleban n\u00eb Afganistan dhe dy vjet m\u00eb von\u00eb pushtimin e Irakut. Ai vazhdon t\u00eb dokumentoj\u00eb konflikte t\u00eb ndryshme n\u00eb mbar\u00eb bot\u00ebn p\u00ebr Newsweek, The New York Times Magazine, Granta dhe National Geographic. Majoli, n\u00eb bashk\u00ebpunim me Thomas Dworzak-un, Paolo Pellegrin-in dhe Ilkka Uimonen-en realizoi nj\u00eb ekspozit\u00eb dhe instalacion jasht\u00ebzakonisht t\u00eb suksessh\u00ebm \u201cOff Broadway\u201d n\u00eb Nju-Jork n\u00eb vitin 2004, i cili \u00ebsht\u00eb ekspozuar gjithashtu n\u00eb Franc\u00eb dhe Gjermani. M\u00eb pas, ai u p\u00ebrfshi n\u00eb nj\u00eb projekt t\u00eb Ministris\u00eb s\u00eb Kultur\u00ebs Franceze, t\u00eb titulluar BPS, Bio-Position System, p\u00ebr transformimin shoq\u00ebror t\u00eb qytetit t\u00eb Marsej\u00ebs. Projekti i tij, \u201cLibera Me\u201d, \u00ebsht\u00eb nj\u00eb reflektim mbi gjendjen njer\u00ebzore.<\/p>\n <\/p>\n Carl De Keyzer (BE)<\/strong><\/p>\n Carl De Keyzer tackles large-scale themes through an accumulative, expansive approach. He builds up narratives through collected images, which often interact with text (taken from his travel diaries). In a series of large-format prints, he has explored India, the collapse of the Soviet Union and \u2013 more recently \u2013 modern-day power and politics in North Korea. His seminal project, God, Inc., captured religious life on the margins of American society. A fundamental premise in much of his work is that in overpopulated communities worldwide, disaster has already struck, and infrastructures are nearing collapse. Born in Belgium, De Keyzer\u2019s career as a freelance photographer began in 1982 while he was simultaneously working as a photography instructor at the Royal Academy of Fine Arts in Ghent. At the same time, his interest in the work of other photographers led him to co-found and co-direct the \u201cXYZ-Photography Gallery\u201d. De Keyzer has worked on assignments for publications including: The New York Times, TIME Asia, Rolling Stone, LA Times and The Guardian. Commercial clients include Coca-Cola, Ernst & Young, Hennessy, Diesel and Davos World Economic Forum.<\/p>\n A Magnum nominee in 1990, he became a full member in 1994.<\/p>\n Carl De Keyzer (BE)<\/strong><\/em><\/p>\n Carl De Keyzer-i trajton tema t\u00eb larmishme p\u00ebrmes nj\u00eb qasjeje akumuluese dhe t\u00eb shtrir\u00eb gjer\u00ebsisht. Ai nd\u00ebrton narrativa p\u00ebrmes imazheve t\u00eb mbledhura, t\u00eb cilat shpesh shoq\u00ebrohen me tekst (marr\u00eb nga ditar\u00ebt e tij t\u00eb udh\u00ebtimit). N\u00eb nj\u00eb seri printimesh n\u00eb format t\u00eb madh, ai ka fotografuar Indin\u00eb, r\u00ebnien e Bashkimit Sovjetik dhe, s\u00eb fundmi, pushtetin dhe politik\u00ebn moderne n\u00eb Koren\u00eb e Veriut. Projekti i tij themelor, God, Inc., trajton jet\u00ebn fetare n\u00eb skajet e shoq\u00ebris\u00eb amerikane. Nj\u00eb premis\u00eb baz\u00eb n\u00eb pjes\u00ebn m\u00eb t\u00eb madhe t\u00eb pun\u00ebs s\u00eb tij \u00ebsht\u00eb se, n\u00eb komunitetet e mbipopulluara, katastrofa tashm\u00eb ka ndodhur dhe infrastrukturat jan\u00eb n\u00eb prag t\u00eb kolapsit. I lindur n\u00eb Belgjik\u00eb, karriera e De Keyzer-it si fotograf i pavarur filloi n\u00eb vitin 1982, nd\u00ebrsa punonte si instruktor fotografie n\u00eb Akademin\u00eb Mbret\u00ebrore t\u00eb Arteve t\u00eb Bukura n\u00eb Ghent. N\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb, interesimi i tij p\u00ebr pun\u00ebn e fotograf\u00ebve t\u00eb tjer\u00eb e b\u00ebri bashk\u00ebthemelues t\u00eb \u201cGaleris\u00eb s\u00eb Fotografis\u00eb XYZ\u201d. De Keyzer-i ka punuar p\u00ebr gazeta t\u00eb ndryshme, si: The New York Times, TIME Asia, Rolling Stone, LA Times dhe The Guardian. Klient\u00eb t\u00eb tij tregtar\u00eb jan\u00eb edhe Coca-Cola, Ernst & Young, Hennessy, Diesel dhe Forumi Ekonomik Bot\u00ebror i Davos.<\/p>\n Kandidat p\u00ebr Magnum n\u00eb vitin 1990, ai u b\u00eb an\u00ebtar i plot\u00eb n\u00eb vitin 1994.<\/p>\n <\/p>\n Enri Canaj (AL)<\/strong><\/p>\n Enri Canaj was born in Tirana, Albania, in 1980. He spent his early childhood there before moving to Greece, when the Albanian borders opened in 1991. He studied photography at the Leica Academy in Athens and became a full member of Magnum Photos in 2021. The same year, Canaj published his first monograph, \u201cSay Goodbye Before You Leave\u201d. He is based in Athens and covers stories in Greece and the Balkans. Since 2008, Canaj has become a freelance photographer for major publications such as TIME LightBox, The New York Times Magazine, MSNBC Photography, Wall Street Journal, Vice, Financial Times, and Le Monde. He has received awards from the Manuel Rivera-Ortiz Foundation, LUMIX Festival for Young Photojournalism, NEON Foundation, iMEdD and Stavros Niarchos Foundation, as well as the Philip Jones Griffiths Award. Examples of his work have been exhibited at Rencontres d\u2019Arles, Museum of Contemporary Art in Thessaloniki; LUMIX Festival in Hanover; Benaki Museum in Athens; Museum of Photography in Thessaloniki; BOZAR Center for Fine Arts in Brussels; Cultural Foundation of the National Bank of Greece in Athens; Bilgi Santral in Istanbul; the European Parliament in Brussels and Athens Photo Festival.<\/p>\n Enri Canaj (AL)<\/strong><\/em><\/p>\n Enri Canaj ka lindur n\u00eb Tiran\u00eb, Shqip\u00ebri, n\u00eb vitin 1980. K\u00ebtu kaloi f\u00ebmij\u00ebrin\u00eb e hershme p\u00ebrpara se t\u00eb shp\u00ebrngulej n\u00eb Greqi, kur kufijt\u00eb e Shqip\u00ebris\u00eb u hap\u00ebn n\u00eb vitin 1991. Ai studioi p\u00ebr fotografi n\u00eb Akademin\u00eb Leica n\u00eb Athin\u00eb dhe u b\u00eb an\u00ebtar i plot\u00eb i Magnum Photos-it n\u00eb vitin 2021. Po at\u00eb vit, Canaj botoi monografin\u00eb e tij t\u00eb par\u00eb, \u201cThuaj lamtumir\u00eb para se t\u00eb largohesh\u201d. Ai jeton n\u00eb Athin\u00eb dhe fotografon ngjarje n\u00eb Greqi dhe n\u00eb Ballkan. Q\u00eb nga viti 2008, Canaj ka qen\u00eb fotograf i pavarur p\u00ebr gazeta t\u00eb r\u00ebnd\u00ebsishme, si TIME LightBox, The New York Times Magazine, MSNBC Photography, Wall Street Journal, Vice, Financial Times dhe Le Monde. Ai ka marr\u00eb \u00e7mime nga fondacioni Manuel Rivera-Ortiz, festivali LUMIX p\u00ebr Fotogazetarin\u00eb e Re, fondacioni NEON, iMEdD dhe fondacioni Stavros Niarchos, si dhe \u00e7mimin Philip Jones Griffiths. Shembuj t\u00eb pun\u00ebs s\u00eb tij jan\u00eb ekspozuar n\u00eb Rencontres d’Arles, Muzeun e Artit Bashk\u00ebkohor n\u00eb Selanik; LUMIX, festival n\u00eb Hanover; Muzeun Benaki n\u00eb Athin\u00eb; Muzeun e Fotografis\u00eb n\u00eb Selanik; Qendr\u00ebn p\u00ebr Artet e Bukura BOZAR n\u00eb Bruksel; Fondacionin Kulturor t\u00eb Bank\u00ebs Komb\u00ebtare t\u00eb Greqis\u00eb n\u00eb Athin\u00eb; Bilgi Santral n\u00eb Stamboll; Parlamentin Evropian n\u00eb Bruksel dhe n\u00eb Festivalin e Fotografis\u00eb t\u00eb Athin\u00ebs.<\/p>\n <\/p>\n Martin Parr (UK)<\/strong><\/p>\n Martin Parr\u2019s unmistakable eye for the quirks of ordinary life has made him a distinctive voice in visual culture for more than 30 years. Known for his use of garish colors and esoteric composition, he has studied cultural peculiarities around the world from Japan to America, Europe, and in the United Kingdom, his home country. The themes of leisure, consumption and communication have been at the heart of his work, all of which are explored with penetrating irony. As photographer, filmmaker and collector, Parr has defined a generation. Parr was born in Epsom, Surrey, UK. When he was a boy, his budding interest in photography was encouraged by his grandfather George Parr, himself a keen amateur photographer. Parr studied photography at Manchester Polytechnic, from 1970 to 1973. Upon graduating, he worked at Manchester Council for Community Relations for three months and then started working towards his first exhibition, \u201cHome Sweet Home\u201d, at the Impressions Gallery in York, MB. Parr has published over 100 books of his own work and edited another 30. His work has appeared in solo and group exhibitions around the world. Parr has also curated many acclaimed shows including Strange and Familiar in March 2016, at the Barbican, London, which examined how international photographers from 1930s onwards have photographed in the UK. Parr has received numerous awards over the years including the Sony World Photography Award for \u201cOutstanding Contribution to Photography\u201d in April 2017, the Erich Salomon Prize in 2006 which resulted in the \u201cAssorted Cocktail\u201d show at Photokina and the Baume et Mercier award in 2008, in recognition of his professional career and contributions to contemporary photography. In Autumn 2017 the Martin Parr Foundation opened in Bristol. Parr\u2019s major exhibition at the National Portrait Gallery opened in March 2019. He became a full member of Magnum Photos in 1994.<\/p>\n Martin Parr (MB)<\/strong><\/em><\/p>\n Syri i pagabuesh\u00ebm i Martin Parr-it p\u00ebr ve\u00e7orit\u00eb e jet\u00ebs s\u00eb p\u00ebrditshme e ka b\u00ebr\u00eb at\u00eb nj\u00eb z\u00eb t\u00eb ve\u00e7ant\u00eb n\u00eb kultur\u00ebn vizuale p\u00ebr m\u00eb shum\u00eb se 30 vjet. I njohur p\u00ebr p\u00ebrdorimin e ngjyrave t\u00eb bukura dhe p\u00ebrb\u00ebrjen ezoterike, ai ka studiuar ve\u00e7orit\u00eb kulturore n\u00eb mbar\u00eb bot\u00ebn nga Japonia n\u00eb Amerik\u00eb dhe nga Evropa n\u00eb vendin e tij t\u00eb lindjes, Mbret\u00ebrin\u00eb e Bashkuar. Temat, si koha e lir\u00eb, konsumi dhe komunikimi, jan\u00eb qendra e pun\u00ebs s\u00eb tij; t\u00eb gjitha t\u00eb eksploruara me nj\u00eb ironi dep\u00ebrtuese. Si fotograf, regjisor dhe koleksionist, Parr-i ka p\u00ebrcaktuar nj\u00eb brez. Ai ka lindur n\u00eb Epsom, Surrey, MB. Kur ishte f\u00ebmij\u00eb, nisi t\u00eb shfaqte interes p\u00ebr fotografin\u00eb, gj\u00eb q\u00eb u nxit nga gjyshi i tij George Parr-i, i cili vet\u00eb ishte nj\u00eb fotograf i mpreht\u00eb amator. Parr-i studioi p\u00ebr fotografi n\u00eb Politeknikun e Man\u00e7esterit, nga viti 1970 deri n\u00eb vitin 1973. Pas diplomimit, ai punoi n\u00eb K\u00ebshillin e Man\u00e7esterit p\u00ebr Marr\u00ebdh\u00ebniet me Komunitetin p\u00ebr tre muaj dhe m\u00eb pas filloi t\u00eb punoj\u00eb p\u00ebr ekspozit\u00ebn e tij t\u00eb par\u00eb, \u201cSht\u00ebpi e \u00ebmbla sht\u00ebpi\u201d, n\u00eb Galerin\u00eb Impressions n\u00eb York, MB. Parr-i ka botuar mbi 100 libra t\u00eb veprave t\u00eb tij dhe ka redaktuar 30 libra t\u00eb tjer\u00eb. Puna e tij \u00ebsht\u00eb shfaqur n\u00eb ekspozita vetjake dhe n\u00eb ekspozita t\u00eb realizuara n\u00eb bashk\u00ebpunim me fotograf\u00eb t\u00eb tjer\u00eb n\u00eb mbar\u00eb bot\u00ebn. Ai ka kuruar gjithashtu shum\u00eb shfaqje t\u00eb mir\u00ebnjohura, si \u201cE \u00e7uditshme dhe e njohur\u201d n\u00eb mars t\u00eb vitit 2016, n\u00eb Barbican, Lond\u00ebr, ku paraqiti m\u00ebnyr\u00ebn se si fotograf\u00ebt nd\u00ebrkomb\u00ebtar\u00eb kan\u00eb fotografuar n\u00eb MB nga vitet 1930 e n\u00eb vazhdim. Parr-i ka marr\u00eb \u00e7mime t\u00eb shumta p\u00ebrgjat\u00eb viteve, si: \u00e7mimin Sony World Photography Award p\u00ebr \u201cKontributin e Jasht\u00ebm n\u00eb Fotografi\u201d n\u00eb prill t\u00eb vitit 2017, \u00e7mimin Erich Salomon n\u00eb 2006, i cili solli shfaqjen \u201cKokteje t\u00eb shum\u00ebllojshme\u201d, q\u00eb u hap n\u00eb Photokina dhe \u00e7mimin Baume et Mercier n\u00eb 2008, si mir\u00ebnjohje p\u00ebr karrier\u00ebn e tij profesionale dhe kontributin n\u00eb fotografin\u00eb bashk\u00ebkohore. N\u00eb vjesht\u00ebn e vitit 2017, n\u00eb Bristol u hap fondacioni Martin Parr. Ekspozita e madhe e Parr-it n\u00eb Galerin\u00eb Komb\u00ebtare t\u00eb Portreteve u hap n\u00eb mars t\u00eb vitit 2019. Ai u b\u00eb an\u00ebtar i plot\u00eb i Magnum Photos-it n\u00eb vitin 1994.<\/p>\n <\/p>\n Nikos Economopoulos (GR)<\/strong><\/p>\n Nikos Economopoulos was born in Peloponnese, Greece, in 1953. He then studied law and worked as a journalist in Parma, Italy. He started photography in Greece and Turkey and eventually abandoned journalism to dedicate himself to photography. He joined Magnum Photos in 1990 and his photographs began appearing in newspapers and magazines around the world. He started simultaneously traveling and pursuing photography extensively around the Balkans. This work won him the \u201cMother Jones Award\u201d. Upon completion of his Balkans project in 1994, Economopoulos became a full member of Magnum Photos. His book, \u201cIn the Balkans\u201d, was published in 1995 in New York and Athens. In the 1990s, Economopoulos started working on borders and crossings, photographing the inhabitants of the \u201cGreen Line\u201d in Cyprus, the irregular migrants on the Greek-Albanian borderline, and the mass migration of ethnic Albanians fleeing Kosovo. In the mid-1990s, he started photographing the Roma and other minorities. In 2000, he completed a book project on the Aegean Islands storytellers, commissioned by the University of the Aegean. A retrospective of his work, titled Economopoulos, Photographer, was published in 2002 and later exhibited at the Benaki Museum in Athens, in 2005. Over the past decade, Economopoulos has shifted to color photography. He now spends most of his time abroad, traveling, teaching, and capturing images around the world.<\/p>\n Nikos Economopoulos (GR)<\/strong><\/em><\/p>\n Nikos Economopoulos-i lindi n\u00eb Peloponez, Greqi, n\u00eb vitin 1953. Ai ka studiuar p\u00ebr drejt\u00ebsi dhe ka punuar si gazetar n\u00eb Parm\u00eb, Itali. Filloi t\u00eb fotografonte n\u00eb Greqi dhe Turqi dhe p\u00ebrfundimisht e braktisi gazetarin\u00eb p\u00ebr t\u2019iu p\u00ebrkushtuar fotografis\u00eb. Ai bashkua me Magnum Photos n\u00eb vitin 1990 dhe fotografit\u00eb e tij filluan t\u00eb shfaqen n\u00eb gazeta dhe revista n\u00eb mbar\u00eb bot\u00ebn. N\u00eb t\u00eb nj\u00ebjt\u00ebn periudh\u00eb, filloi t\u00eb udh\u00ebtonte dhe t\u00eb fotografonte gjer\u00ebsisht n\u00ebp\u00ebr Ballkan. Kjo vep\u00ebr i dha atij \u00e7mimin \u201cMother Jones\u201d. Pas p\u00ebrfundimit t\u00eb projektit t\u00eb tij n\u00eb Ballkan n\u00eb vitin 1994, Economopoulos-i u b\u00eb an\u00ebtar i plot\u00eb i Magnum Photos-it. Libri i tij, \u201cN\u00eb Ballkan\u201d, u botua n\u00eb vitin 1995 n\u00eb Nju-Jork dhe Athin\u00eb. N\u00eb vitet \u201890, Economopoulos-i filloi t\u00eb punonte n\u00eb kalimet kufitare ilegale, duke fotografuar banor\u00ebt e \u201cVij\u00ebs s\u00eb gjelb\u00ebr\u201d n\u00eb Qipro, emigrant\u00ebt ilegal\u00eb n\u00eb kufirin greko-shqiptar dhe emigrimin masiv t\u00eb shqiptar\u00ebve etnik\u00eb q\u00eb iknin nga Kosova. N\u00eb vitet \u201890, ai filloi t\u00eb fotografonte rom\u00ebt dhe minoritar\u00ebt e tjer\u00eb. N\u00eb vitin 2000, ai p\u00ebrfundoi nj\u00eb lib\u00ebr mbi tregimtar\u00ebt e ishujve t\u00eb Egjeut, porositur nga Universiteti i Egjeut. Nj\u00eb retrospektiv\u00eb e pun\u00ebs s\u00eb tij, e titulluar \u201cEconomopoulos, Fotograf\u201d, u botua n\u00eb vitin 2002 dhe m\u00eb von\u00eb u ekspozua n\u00eb muzeun \u201cBenaki\u201d n\u00eb Athin\u00eb, n\u00eb vitin 2005. Gjat\u00eb dekad\u00ebs s\u00eb fundit, Economopoulos-i i \u00ebsht\u00eb kthyer p\u00ebrdorimit t\u00eb ngjyrave n\u00eb fotografi. Ai aktualisht e kalon pjes\u00ebn m\u00eb t\u00eb madhe t\u00eb koh\u00ebs jasht\u00eb Greqis\u00eb, duke udh\u00ebtuar, duke dh\u00ebn\u00eb m\u00ebsim dhe duke fotografuar n\u00ebp\u00ebr bot\u00eb.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Expo-View” color=”black”][vc_gallery interval=”3″ images=”7984,7985,7986,7987,7988,7989,7990,7991,7992,7993,7994,7995,7996,7997,7998,7999,8000,8001,8002,8003,8004,8005,8006,8007,8008″ img_size=”full”][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”\u00c7elja e Ekspozit\u00ebs” color=”black”][vc_gallery interval=”3″ images=”8014,8015,8016,8017,8018,8019,8020,8021,8022,8023,8024,8025,8026,8027,8028,8029,8030,8031,8032,8033,8034,8035,8036,8037,8038,8039,8040,8041,8042,8043,8044,8045,8046,8047,8048″ img_size=”full”][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":" [vc_row][vc_column][vc_single_image image=”7916″ img_size=”large” alignment=”center”][vc_column_text] Curated by: Sylvia Sachini[\/vc_column_text][vc_separator][vc_column_text]Things Take Time\u00a0(AL) R\u00ebnia e komunizmit n\u00eb Evrop\u00ebn Lindore n\u00eb fillim t\u00eb viteve \u201890 \u00e7oi edhe n\u00eb r\u00ebnien e komunizmit n\u00eb Ballkan. Si pasoj\u00eb, u shemb gradualisht edhe regjimi komunist n\u00eb Shqip\u00ebri,<\/p>\n","protected":false},"author":5,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-7915","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/cod.al\/index.php?rest_route=\/wp\/v2\/pages\/7915","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/cod.al\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/cod.al\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/cod.al\/index.php?rest_route=\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/cod.al\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=7915"}],"version-history":[{"count":20,"href":"https:\/\/cod.al\/index.php?rest_route=\/wp\/v2\/pages\/7915\/revisions"}],"predecessor-version":[{"id":8050,"href":"https:\/\/cod.al\/index.php?rest_route=\/wp\/v2\/pages\/7915\/revisions\/8050"}],"wp:attachment":[{"href":"https:\/\/cod.al\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=7915"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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