Shyqyri nimany biography books download
Latest Articles. Albania's Rama hints at softening of TikTok ban. Weekly Top Popular. Kosovo's Ambitions for I can no longer practice all of them. At a time when the very concept of the book is being challenged by technology, the ever-evolving way we consume information, and uneasy competition from the entertainment industry, Nimani stands to be one of the pioneers of book design in Kosovo.
One day, while preparing plates for theatre posters, he also got to work on his side project — some cover samples for books of Albanian writers back in Prishtina. A gentleman passing by saw them, liked them, and invited him for a job interview the next day. He was one of the editors at Rad, a publishing house in Belgrade. He used acrylic colors, then just new on the market, to paint around images to accompany the poems.
For Albanian-language newspapers, magazines and journals, he translated short stories and poems from authors like Borges, O. Henry, Lorca, Tagore, and Maya Angelou.
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He also wrote poetry, short stories, travelogues, and art criticism, and established a collection of sorts of Albanian cultural materials. I would always copy documents, photograph, and collect materials. Over these 40 or 50 years, I created a personal archive of sorts. Even at a library in Japan — this was of course before the internet, when literature searches had to be done physically — he found a copy of The Courier magazine, published by UNESCO, whose entire issue was devoted to Onufri, a sixteenth century painter.
This helped Nimani later to write a book on Onufri. He is currently working on a book with the draft title Albanese , about the contribution of Albanian artists to Renaissance art in Italy and other European countries. His marks are all over the Republic of Kosovo, from logos of governmental institutions like the Police, as well as businesses, corporations, and other institutions like the Grand Hotel Prishtina, the National Theatre, and the National Gallery of the Arts.
His designs are on postage stamps, presidential award medals, and iconic theatre and film posters. So, we started enriching the library of figurative arts, not only with international literature, but we also emphasized our local arts. And so, so I think we managed. A system in the sense of how did it promote the artists of the province? At that time, at that time, just like in other fields, I am talking about the field which I know and which is the visual arts… they existed, you know, galleries existed.
Each capital… because they have… the Yugoslav system was, the Yugoslav Federation had six republics and two provinces. So, we had our meetings.
We had one representative in the Yugoslav Federation and we would agree with everything that came to Yugoslavia and went out of Yugoslavia. There we would decide for example when an exhibition wanted to come. For example, I was a member of that Council there and I wanted, I brought the Japanese exhibition here for the first time, one from Dagestan and many others.
It will travel to five to six cities. There was equality, to be honest, for real. Also associations of visual arts artists and applicative arts existed back then. Each one, I mean each province had them. Here in Kosovo we had three associations. This worked as well and the deceased Kadrush Rama was its leader. And this way we won, we won a lot.
The visual arts were imposed, they were imposed. The queue was long. Schools would come… it was a realistic exhibition. It had figures from the history of the Albanian nation and so on. It was famous. Shyqri Nimani: … yes, yes. The associations had one thing. They organized, I mean they had the membership, they organized the annual exhibition.
And in the Gallery, we allowed each association one annual exhibition, I mean the three of them were guaranteed this.
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We helped them not to deal… they brought their works here. They established their own juries, the selecting juries, but we accepted their works here. When the exhibitions were done, they would come and take them back. So… then the Gallery started buying. At that time, we bought five hundred works in ten years.
The Collection of the Gallery started getting very rich. And this is how the visual art progressed. Then what else did the associations do? They would organize various workshops, one thing that was very good was that they organized the what is called…. Once a year they would organize an artistic colony, which was very beautiful.
The painters would take their canvas, colors, pens, papers and live for seven to ten days… they were provided food and accommodation. They were in charge of creating paintings which would remain under the ownership of the Gallery. I mean it was a beautiful environment… they had their own offices. While today, it is miserable.
I mean, the associations were demolished thanks to the leaders who were, you know, irresponsible. And, the artists are not organized, not organized. Or they organize in groups of three—four, five or ten people gather privately and ask the Ministry of Culture for, for example, a, a, a small budget in order to afford a catalogue and send an exhibition to another place.
But we are left with, you know, the mess. Unfortunately even the Gallery, now the Gallery finally has to organize a great international exhibition of Kosovo Visual Art. Followed by a great monograph in several languages. It has to collect artworks. You know that no artwork was bought for 20 and something… or to say that in the last 17 years [after the war], but even before and imagine the harm that was done to Kosovo.
I mean, the young painters, the new generations could sell their paintings here and there, but with very little money, but those paintings are valuable. Especially the young generations. The young generations should not expect the old ones to raise their voices for them today as well, because they should be taught to raise their voices for their own rights.
So, the collection has to be created, to create the collection of the Gallery of Art new works by our artists have to be bought. Because nowadays we have many good artists, really, really good ones. Because many years have passed and many more good artists are coming, you know, the quality is better and better.
Shyqyri nimany biography books list: Shyqri Nimani was born in in Shkodër, Albania. Nimani is known as one of the first graphic designers in Kosovo, as well as for being one of the founders of the department of Graphic Design at the Faculty of Arts, University of Pristina, Kosovo. Nimani graduated from the Academy of Applied Arts in Belgrade in , from the Book Design.
We also worked and took some ateliers. Those ateliers were small. But nowadays we have to look for ateliers again. We got the land. Then, Now we have to return the land or ask for it again. We have lost the right, you know, we were negligent. But it is unfortunate that it was not done to the end, because as the saying goes Finis Coronat Opus [It is the Ending that Decorated the Work].
Here the ending destroyed the work. You know, we went there some days ago, I did not manage to meet my fellow colleagues there.
You know, now it is a contest, according to the law, Pristina, the Municipality of Pristina has the right to ask for it from you, or we have to apply once again for the land and then ask for other funds to finish it. Something has remained. Shyqri Nimani: Yes, yes. We took it long ago. Now it is the basic monetary unit of Serbia. He disappeared at the time of his release and his whereabouts are still unknown.
The Albanian reaction was to create a parallel system of education hosted mostly by private homes, basements included were used as classrooms. They became the symbol of the Brotherhood and Unity of the Serbian and Albanian people.
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In Yugoslav times it was common to name institutions after the heroes of the anti—fascist war. I also told Arta [Bunjaku], the current director, that her priority during her four—year mandate should be the beginning of work to build the Museum of Contemporary Art, the demolishing of this building here and the constructing of a new one, or to find a place where a whole new one will be constructed, but they are still thinking about it.
I mean a council should be established to talk about what they want to do…. Kudos to them, to people from music, especially the ones from the field of who recently have built with, with project are competing and starting festivals of classical music, which have become very important here. We tried to have harmony, we held the Academy very well, with harmony, we had no problems.
Back then when I… when I returned it was the year of if I am not mistaken, I believe I am not mistaken, and that is when the call was opened for the position of the director of the Gallery. But at that time there were some personalities, Ali Hadri was a professor in the faculty and the director of the Institute, because there were not many qualified people but I still think that it was possible to elect somebody else.
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You know, for a director of the Gallery, but maybe they thought I was the right person and I led the Gallery for ten years. Then we decided to use the Culture Palace which at that time was called Boro dhe Ramizi and began from zero, we did not… I mean we had nothing, but the support of the government of Kosovo was extraordinary. And then I, I had to create those three offices, to ensure the exhibition space has the basic conditions, as much as it was possible at the time, such as light, air condition, warehouse to keep the artworks.
I asked for funds in order to buy artworks every year, every artist that had their exhibition in the Gallery were published in a catalogue by me, not by me but by us because it is never nice to say I, but in this case as the director I did it with the Artistic Council. We covered their travel expenses as well as the accommodation for seven days with food included, we would buy two works and this was one of our initiatives and ideas which was never refused by the government.
I had agreed with the deceased Azem Shkreli, who was the director of Kosova Filmi , to build another ten ateliers there, and we built the first four ones, they all were supposed to be built according to… for example one for painting, one for sculpture, another one for graphic arts and the other for design. And they were around 50—60 meters wide, with central heating.
I mean the projects are here, there was an architect… one… I forgot his name, his last name was Spahiu and we also paid him. Shyqri Nimani: Yes, and this is a very good question. Then we would send them to Zagreb, Belgrade, I also had a reciprocal agreement in order to exchange exhibitions, I would take one, they would take one, and not the arrangement of I take one and you take none, I mean we were equals.
Whoever wanted to collaborate with me from Yugoslavia did so, so we collaborated with Belgrade, Zagreb, Ljubljana, Skopje, Sarajevo, Novi Sad and so we had great activity. The question was cut from the video interview]. We started writing, writing about those exhibitions that happened in those cities, I myself started writing in the second year of my studies, because there were many exhibitions in Belgrade.
I told you earlier that 20—30 exhibitions would open in one day, and I wrote for Rilindja. It published articles on figurative art, film, music, drama, literature. And so I had started writing and I also would record with Television of Pristina, which had its representatives in Belgrade, we had a TV show once a month, it lasted half an hour and later on it started being broadcasted once a week, so once a week I would take their cameras to record and broadcast on television besides the fact that I also wrote for Rilindja.
There was Rilindja only. Then there were other magazines, there was the Fjala [The Word] magazine, which was a literary one, it was a big platform and Fjala [The Word] achieved a high level of success because it was led by professionals in literature. Professor Nimani will also be remembered for the calligraphic manuscript of the Declaration of Independence of the Republic of Kosovo in Elez Berisha, Nr.
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