Klodian Deda
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Hotel_Avogadro1
Hotel_Avogadro2
Hotel Avogadro
2016, project. Site-specific installation, Interactive art.
Installation view, Galleria Civica Tower Avogadro, Lumezzane, Brescia, Italiy

"Hotel Avogadro" stands between a medieval and contemporary structure. The building is placed in a dominant position over the valley and belongs to Avogadro, lords of Lumezzane, since 1427. We are in the province of Brescia. In Twentieth Century the tower will become an elementary school, then into a setting for cultural events up to date. For Lumezzane's community the structure has a high historical and cultural significance which was started in the Middle Ages and is passed down to us. There is a link between the inside and the outside. With the intervention of neon signs in front of the building, the tower takes on another concept, it becomes a surreal hotel, since the interior will remain unchanged, empty. Changing the objective of the place, it begins to lose its historical identity. In the community consciences, this will be understood as an insult to the country's history. The citizens will visit the exhibition, not because they learned about a contemporary art exhibition, but because they wanted to understand what is going on with their tower. This is a scam Gentlemen, a non-invitation to the exhibition. The same thing could happen even with occasional tourists. Their need to stop and spend the night in a vintage hotel, could become a disappointing surprise. Accidentally or not they have visited Torre Avogadro, history of the city of Lumezzane.
Klodian Deda



semafor1
My Ukraine
2014, interactive art, various dimensions.
Installation view, Zeta Galeri Tirana, ARDHJE Award 2014, group exhibition.

The project “My Ukraine” is built through the intervention of the public. A table will be placed, in the left side there will be sheets of paper mapped with the Ukraine flag. These flags in A4 format, will be in the ream. Near to it will be two or three pairs of scissors and an empty box. On the right side of the table there will be a paper^ with the instructions on what the public should do. He is invited to take a flag - paper and with the scissors to create a map of the Ukraine. After this, each one has to write one's own e-mail address in the back side of the flag, put it on the clear plastic and hang it on the panel. It will be explained in the instructions that will be sent to each participant, by e-mail, his personal map of the Ukraine. The material will be documentation and personal at the same time . With this work I ask to the public to get involved, a direct participation, an undertaking of responsibility. To experience, for a short time, the feeling of have the power to be able to divide the boundaries of a state or a nation. The audience will take home this interaction at work, not only as a lived experience, emotionally, but also as an evidence thanks to the material received from the artist. The material that will receive will be the visual evidence of the experience, then a work created for his interlocutor.
Klodian Deda

semafor1
semafor2
Semafor
2012 - 2013, interactive art, two traffic lights, various dimensions.
Installation view, Miza Galeri Tirana, solo exhibition.

"Klodian Deda's work “Semafor” suggests a three-dimensional space between two traffic lights; inserting the public in a perceptual setting to cultivate emotions in a space where sentient reality prevails. We are dealing with an "un-framed" exhibit that falls outside conventional norms and takes into account visual art as it closely relates to the extent of the volume it occupies, thus creating a psychological space where genuine thought merges with the perception of the body in a precise space/time momentum. Utilizing a three-dimensional space as an immaterial art piece establishes the premise for a specific aesthetic category leaning more towards epistemology than ontology through the transgression of the formal expression forms, developing a sensory experience, visions, fantasies, and a state of tension in the space between the austere traffic lights, which consequently provoke a contradictory abstract reality that puts the public in a dilemma or questionable position, thus presenting an analogy between illusion and purpose. What is the objective opinion suggested here, by the space between two specific objects symbolically represented by two contingent traffic lights? The answers come from the subconsciousness and the cultural domain. The “Semafor” project is part of an artistic search and aesthetic experiment that encourage reflection on the phenomena of the political, social and cultural kind. In itself, this project represents a significant approach conveying an identity awareness paradigm: where we come from, who we are, where we are going, expressing its point of view on the individual in relation to the time we live in."
Andi Tepelena


Semaphore by its etymilogy and then in the broadest sense, means: a carrier of semata, sign bearer. This ubiquitous instrument of semiotics applied to human trade, know as the traffic light, has a privileged status as the tool that never fails, which must be respected for civic duty, education, personnal safeguard. Entered preponderantly in use for regular road traffic, it has been borrowed from the maritime signaling system. Klodian Deda brings it inside the house, stripping it of its usual power and its regulatory function. Yet the house (that living place used as a dormitory, office or studio that might be), has always been the crowedest place in the world. The steps that Odysseus has done around the world, as a sum of all his travels are far fewer compared to the steps that he has done not minding into his house. And no place more that a modern house (whether used as a gallery, bar or boutique ), would need a carrier of semata to manage the extremely congestedtraffic. The house of modern man may seems like a forge sometimes, and more likely it ressembles to a pressure cooker; in there rest and clash the hardly contained ambitions of this era, still haunted by the need to go beyond himself, and get cancelled in the space of realization.But the introduction of the semaphore in the house, by Deda, sounds ironic and provocative. The light will have no function of traffic ruler. In the gallery there will be dark, as if we were in a tunnel, and that light will give hope and fear as a light at the end of a train tunnel. The user will be able to command the ignition of the green light in order to pass, but will will hardly get to exit, with the other fixed traffic light on red. The semaphore in the house fairly reppresents the automatisation of our lives, our most incurable tics, the aberration that comes from the fact that we do not know how on earth to harmonize our movements with others, while we always keep needing an external referee, even though a nonliving one (in any case it would never seem ruthless to us, as the human referee), to notify us elementary signs. The robot is us. You get to pass, you do not get to pass... The lack of yellow light, deprives thh semaphore of any normalizing function, chases it away from the world of the streets, directions, labour, and leaves it in the very place of 'either-or'; likewise in a prison, where getting in and out assumes a huge existential importance comparable only to gravity.
Astrit Cani

duchamp
Duchamp "The art it’s made by public"
2012, Site-specific installation, Interactive art, public performance 400 X 120 cm.
Installation view, Fabbrica del Vapore Milan 2015, group exhibition.

For the artistic research Duchamp "The artit's made by public", I decided to create a bulletin board that is the symbol of consumerism's facts in the modern world. The public uses the bulletin board to add its advertising. To take the opportunity, to advertise a product, to spread their creativity in different ways, using irony, etc. etc. The bulletin board here plays the role of artwork, where the time and the subject are used by the public. With this work I ask to the public to get involved, a direct participation, an undertaking of responsibility.
Klodian Deda

time
I'm giving time to my time
2011, 5 Sheets A4
Installation view, Gallery of Ministry of Culture, Pristina 2015, group exhibition.

"I'm giving my time to time" is the story of Klodian Deda's experience with the competition “Arte Laguna 2011”. The narrative experience is based on a real story. It is exhibit to raise public awareness on contemporary art system that often creates illusions. Klodian as a young artist puts effort into taking part in contests. For “Arte Laguna 2011” Deda participates with two works, below a payment according to the rules of the competition. But during the selection's phases process emerges an obscure part. The competition did not allow sufficient time for the creation of the artist's project. In this case, because the artist did not meet the deadlines, the organization excluded the artist denying even the sum of money paid. With the story “I'm giving my time to time” the aggressiveness of visual arts system arises, and the exploitation of young artists is the basis for the assertion of his own.
Klodian Deda

some
Distraction.
2011, photos 9, 20 x 12 cm.
Installation view, Gallery of Faculty of Arts, Pristina 2015, group exhibition.

Since ancient Greek, the City was considered the noisy motion in action. An impulse of natural and supernatural power that does not understand that sometimes you need to slow down. Living under this noises, without limitation, it feels the lack of oxygen, but at the same time it has energy perpetually. The city shape the anthropological man in a superman. Distraction is created in metropolitan settings, on the street, where the routine and the bodies drags the remains of their waste. The mind is unconscious, dissolved in different destinations, losing space and time in which it is located. We photographed the sidewalk with crowds of people. A glint breaks the rhythm for a few seconds, a trumpet in the background draws attention. It demands to break the routine to give importance to the moment in which it is located. Awakening or normality? Everyone lives in his own way the break-reflection of that moment.
Klodian Deda

reflection1
Reflection
2011, installation photos, print on aluminum, 40 x 10 cm.

The park is alive: the intervention changes the space inviting to stop, at reflection; the clothes "worn" from the trunks create confusion on the observer who is catapulted into a surreal dimension, where space comes alive, in the silence of the park is filled by a hushed voice, life evoked takes shape . The park is an unpolluted place, an oasis in the city, which lives on the scraps of life for those who decide to escape for a short time from the background noise of daily life, the smog of the busy streets, perhaps moving only a few meters, to stay in a place where magic lurks behind every tree, where the irony of provocation extract a smile.
Klodian Deda

xxl1
XXXL
2011, installation, fabric, two ventilators, 950 x 220 cm.
Installation view, Forte Marghera Venice, solo exhibition.

The bra from a part of underwear that cover and support the breast, from time immemorial a means of man’s attraction, that never had resisted to the rounded hidden under the garments, it is wear from the disused building and consumed by the time. The poet Marziale defined this women accessories as “the trap that no man could flee from, the bait that inflame again the loving flame”, well the same happens to the building, the eye is attracted to it although it is uncared and unused. The public attention, the citizen attention comes stimulate for the environment, his attention is submitted toward the ruins, that more and more increase in the architectural shape of the city. Where restoration works or conservation, where public maintenance doesn’t attend here comes the arts, that dress and embellish the urban habitat, who from a pure dead body, becomes alive and with it the public attention.
Floida Skraqi
xxl2


xxl3

Flosvirginity1
Flosvirginity2
Flo’s virginity
2011, installation, cloth and blood, 58 x 155 x 47cm.

The installation consists of paintings in a frame. There are five pieces of various sizes. The frames have double glazing in which the fabric is cut with the blood stains left after the "loss of virginity". The frames are not hung in the traditional way that we are used to seeing, only a part of the frame is leaning against the wall with the other three detached. The picture is seen in perspective to the wall. In this case the work do not have a full impact, but it has to turn around on both sides framed. Preserve, see, sublimate, sacrifice. Verbal testimony of life, choices, actions, needs that come together in one of the oldest anthropological and physiological mythsever: virginity. The virgins of ancient Greece were sacrificed to the gods or to the monster of the cave, to save the community; and whoever is preserved until the day of the wedding for cultural or religious duty or for an ideal; the reports have testified about girls that sold on Internet, for big bucks, their own virginity as a commodity or the example of geisha that played and created their own existence on this status; for others the virginity or her loss becomes the sublimation to the being and to Love. All the examples highlights the figure of the stain, the stories here are canceled; the action, the needs now flow into a track, in a color, in an organic stain that unites all humanity, a kind of original sin, which in the possession and loss implements a change, a transformation of existence and nothing more.
Floida Skraqi

freespace
Bottle
2010, bronze, natural size.

The genesis of the bottle begins with terracotta artifacts of 2,500 years ago. The first traces of a glass bottle dates back 1st century AD in the Syrian territories. But we have to wait until the XV century to see them spread. Modern era has discovered plastic, as well as paper like container, so glass bottles have lost their essential value even if still alive. The bottle itself has always had the charm above a table, within home furnishings, till present days where, in the supermarket's drinks area, the bottles seems displayed to compete with each other. In our perception they are already competing, they possess beauty. The inanimate object seems to acquire a soul, it feels immortal leaving a sign for what is created; to join and interact in human's life, affecting his soul for the sake that gives. Becoming part of the trophy, to be tasted and then loved. So this love is not simply for the ''juice'', but also for the container. I turned all this bottle's charm into a work of art. A bottle (painted bronze) placed on the ground, indifferent, seems in his last breath, to be destined in the trash, then dissolved to become a new object. Here comes the public to complete the work, in the time he's looking for the meaning in the bottle's permanence. In the moment he discovers that it is not composed of his own natural material, but in bronze, the public's perception towards the bottle is reversed. So this bottle is not even clay, even glass, not plastic, but it is of bronze, a special material to feel divine. Feeling like glass that took forever his immortality.
Klodian Deda

sunshine
sunshine
sunshine
sunshine
sunshine
sunshine
sunshine
sunshine
sunshine
Tired of lying in the sunshine
2010, photos, stills from video, 3 min, 77 photo.

looking
Looking back
2009, installation, painted wood, 220 x 220 x 230 cm.
Installation view, "KROSSING". Immaginodromo by Marco Polo System, Side
Happening of the 53° Biennial of Venice 2009, group exhibition.


Klodian Deda’s artwork is presented here as a cube with 52 frames hanging inside, each one creating 2 connected cubes. They are at the eye-level of the observer. Each frame is catching a hypothetical vanishing point, which is connected to another one. The frames let the point of view fly over spaces opened on passages, but the observer is stuck looking for a different horizon. The external structure is itself a cube and a frame, allowing only the eye to pass its boundary. Klodian’s work is related to the painting languages even though it is built in 3d. The repetition of the frame-subject is used as a base structure that creates a cube from a square, developing the plane shapes of the square and the rectangle. On the other side the colours of the frames, blue, yellow and red, remind one of the dutch neoplastical space works, they deconstruct the volumes and reduce the chromatic spaces, to produce the illusion of being in a 3d space built with the square geometry. The general result is to look at the front of the work even though it is rotating around, as opposed to the renaissance illusion of the depth space related to the observer point of view. The frame is often used in Art to raise evocative feelings. Klodian turns the physical and real space into something different using the painter’s tools. Leon Battista Alberti intended pictures to be as “windows over reality” during the renaissance. To Klodian this world is behind us, our eye must be directed to the place we came from. Space is used here to force us think about our future, and to think about future is to meditate on our past. That is the key to this work. To Klodian the need to look back is the situation of the human being in the modern world.
Raffaella Pulejo

tempo





For how long
2009, installation, mixed technique 30 x 15 x 20 cm.
Installation view, Galleria San Lorenzo Milan, group exhibition.

Social's walls, personal barriers, psychological barriers or discriminatory attitudes, difficulties in dialogue or understanding. I mean a real and realistic insight into a segment of our society that should guide us towards the future and where we do not often listen.

Klodian Deda turns the spotlight to another wall, difficult to break down, homosexuality. Hi propose a conceptual work, installation, where the object becomes the work and art is thought. We see a safe, where there is no place for money, valuables or jewelry but intimate secrets and broken dreams. Pictures, CDs, letters, objects that tells us of a love between two men that will never be lived in freedom. The reason is that one of the two lovers is a father, husband and he doesn't want to lose the affection of the family and the dignity as a father, he decides to quit and keep safe in his happiness.
Roberto Milani
tempo

family
family
family
The family
2009, installation, photos, print on aluminum, three pieces, 50 x 30 cm.

Print on aluminum, Three pieces 50 x 30 cm. Presence-absence, the image of emptiness that surrounds us. Of us fools that let the world pass us by, the work is deeply illusive, make us imagine a common reality, made up of daily routine, repeated day after day constantly, in which humanity consumes an empty shell, from childhood to maturity.
Guido Folco

nomadismo
Nomadic
2008, installation, 25 painted chairs, 800 x 140 cm.
Installation view, Lekurs Castle Sarande Albania, Festival ArtKontakt 2008, group exhibition.

The title refers to all human beings, who wander and roam about this earth, looking for a place, whether near or far. The artist used chairs to represent this wandering. At first, this seemed ironic to me. A chair, after all, is something that is stable and solid. Unless it has wheels, it doesn’t move. It does, however, have legs. And the artist has used the chair because it immediately implies a human presence. What else, after all, is it there for, other than for a human being to sit in? This tension between sitting and moving, present and absent, is precisely what I think makes this work so compelling.
Amy Bryzgel

nomadismo1
nomadismo2
Nomadic
2008, installation, 25 painted chairs, 800 x 140 cm.
Installation view, Lekurs Castle Sarande Albania, Festival ArtKontakt 2008, group exhibition.

freespace
Free Space.
2007, installation photos, print on aluminum, 120 x 100 cm.

In the photographic installation "Free Space" some men are portrayed while they were moving into an empty space in connection just with a table. The object, the only item in the room, where was held the action, is static and passive in order to enhance their movement. The space is subjected to the conditioning of coordinated gestures of the four men, taking different inevitable positions as in a ritual dance. Their experience on the object every possible movement with stiff and measured exercises, without losing the precise point where it is placed. They rise it, they overturn it, they rotate it, go up there, turn around there, or just look at it, always staying in the same area as in response to an harmonic order of an aesthetic path. The bodies with their physical strength, focus on the object the actions for which it is not prepared. Therefore every meaning of which the table is endowed, as the union, sharing, study and work, is overthrown. Subjected to any man's initiative, the object becomes a metaphor for an impassive and receptive body, at the service of uncontrollable and total control power until the abuse. Every movement of the four men is calibrated and acted according to others. Each will have to assume its responsibility if the action fails. In the work we perceive the continuing tensions of their bodies established by the close correlation between gestures and impulses. Dominate the movement means to be masters of one's own vital energy and tend toward significant values. From this it can be deduced in a measure that the correct behaviour of the man, as Hippolyte Taine used to say, is not related to the free choice of each but influenced by social, educational and economic factors. They become "political dance" when there is respect for the rules by which we recognize. In the bare room from any setting, predominates rigorous geometry of space illuminated by large windows, where stand bare bulbs on the ceiling with exposed wires; the sense of impermanence is completely absorbed by the harmonious atmosphere transmitted from the “green Veronese” painted walls, Renaissance breath in contemporary climate
Nikla Cingolani