Deutsches Historisches Museum: Edi Hila: Wedding dress for rent or system changeovers and survival strategies

11.10.2012

17:00

Edi Hila: Wedding dress for rent or system changeovers and survival strategies

“A man found an aquarium on a road between towns—an aquarium with live fish in it. Someone had caught the fish in the lake and put them there on the road, hoping someone driving along the road would stop and buy the fresh fish. That is called a parallel economy—in contrast to the organised economy planned by the government and the state. This parallel economy developed as a way of survival.”

Since the fall of the Iron Curtain Albania has found itself in a deep crisis as it transitions from dictatorship to democracy. Although the first free elections were held in 1991, the economic and political crisis grew so severe in 1997, that it became societal. The Albanian population rose up in the ‘Lottery Uprising’. Out of necessity, a parallel economy based on trading, selling, and renting emerged: live fish as well as bridal gowns.

This is what the Albanian artist told us during his interview at our museum. Eli Hila turns out to be an older gentleman, with a slight smile on his lips. He chooses his words carefully as he tells us the story behind his painting La robe de la mariée 2 (2007), which is so closely linked to the history of his country.

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[Transcription: ‘This work is part of a series of paintings inspired by the Albanian reality and painted after the dictatorship had ended and democracy begun. By chance I noticed that there were many things and objects to be seen while walking around the village, in particular on the outskirts of town. They were useful objects, such as a broken window, which someone was using to sell music cassettes from. I noticed that many of these objects were similar, which gave me the idea of extracting—if possible—a certain design aspect based on the objects’ new function, which differed from the original one.

This is not only an artistic activity, or a formal one, but also an economic circumstance and a political fact. The change of political system led to difficulties in Albania. This had to do with the changing social structures. Many people had to find new ways to survive. An example: A man found an aquarium on a road between towns—an aquarium with live fish in it. Someone had caught the fish in the lake and put them there beside the road, hoping that someone driving along the road would stop and buy the fresh fish. That is called a parallel economy, in contrast to the organised economy planned by the government and the state. This parallel economy developed as a way of survival.

This painting that the museum is exhibiting, La robe de la mariée 2, is actually an object. It is one of these objects placed along the streets because the owner or person who hung this wedding dress there hoped to sell or rent it. Other ideas are also represented in the image. It is not just a statement about the problem of a parallel economy. If we look at the painting for itself, we can see other ideas and moments of artistic creativity.]

The changes in Albania are profound. The new reality has led not only to new artistic freedom, but also to artistic confusion. Edi Hila talks about how he and other Albanian artists find themselves confronted with a new actuality. They are able to travel now and have quickly realised that if they are to play a role as artists in reshaping the Albanian situation, then they will have to change something. Artistic freedom means openly confronting the Albanian reality. This freedom to use one’s head and to initiate, however, must first be learned.

Its English title is The Wedding Dress 2. As he starts to talk about the painting, we realise how much room for interpretation there is. Our accompanying caption text points out how ‘the wedding dress points to a lost world, laments the failure of politics and the end of all hope. The West’s promise of freedom has brought only misery. There is no future.’ Edi Hila understands that it as a possibility to go away and try one’s luck elsewhere.

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[Transcription: ‘It is important that this painting is open to interpretation by everyone, because each person will discover something different. With that in mind, it is probably helpful if I say a bit about it. So there is a display window mannequin—not a married woman—but a display mannequin with this wedding dress set out in front of the door to the house. Behind the dress is a black, half-open door leading to a dark interior. Visible in the painting background, where the mannequin head would be, you see a red building, the silhouette of a house, and on the right, above the door, a horn—a very male symbol.

The idea behind the painting goes beyond the mere selling of the dress. It has to do with the idea that one leaves home, simply leaves the house to seek one’s fortune or whatever life might bring. Or maybe there is someone who uses the dress in the house, perhaps for prostitution, or perhaps for a business. There are many moments and problems, social as well as political, connected with the painting. This canvas was painted at such a moment and is full of these situations and moments: leaving home, emigrating, taking action, and various other types and forms of situations and stories.

And I hope that this painting imparts all of what I just spoke about. I at least had these ideas while I was painting it. And I don’t know if I succeeded.]

What we didn’t ask: Whether he asked how much the wedding dress costs to rent.

Where the painting is in the exhibition: Room 5, ‘The Realities of Politics’, on the left of the rear wall.

What else was said: He was imprisoned for three years during the dictatorship on charges that his style showed ‘western tendencies’.

What does he think of the exhibition concept: I find the exhibition concept very interesting. I think it will work! I had imagined a impressive exhibition and I think it will be one. So many things have changed—not only in Albania, but also in Germany. The idea of a transition from one system to another is a powerful one. I am very curious about the exhibition.

When does he feel the most free: "Always when I am travelling, when I am outside. I am trying to buy a camper van so that I have that kind of freedom during the summer - travelling."