ARTISTS
Dammi i Colori
Valenzuela Klenner Gallery is proud to present the group exhibition 鈥淒ammi i Colori鈥�, with Alban Hajdinaj, Anri Sala, Gentian Shkurti and Fani Zguro, from February 12, 2015 until March 14, 2015. This video exhibition takes the title from Anri Sala鈥檚 video 鈥淒ammi I Colori鈥� (2003), which is a documentary, sort of, and needs to be seen from start to finish in that order to get a full sense of the quiet dramatic power that lurks beneath its LoRes visuals. Unfortunately, the leader is a bit short, so what seems to be the introduction gets mixed up with the end credits. We first see a lighted window in a shadowy, non-descript tenement block and hear music from within. A car briefly illuminates the walls, revealing a surprising patchwork of vivid colours. The car passes and they fall back into gloom. Now the camera is moving, looking sideways. Facades as bright and varied as jellybean assortments meet earth and rubble where the pavements should be. Arc lights on the cruising vehicle bleach out the leafless trees in the foreground and catch wan-looking dogs snuffling about wooden gangplanks that link the doorways with the road. In the background, block after block is saturated in technocolor.
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Valenzuela Klenner Gallery is proud to present the group exhibition 鈥淒ammi i Colori鈥�, with Alban Hajdinaj, Anri Sala, Gentian Shkurti and Fani Zguro, from February 12, 2015 until March 14, 2015. This video exhibition takes the title from Anri Sala鈥檚 video 鈥淒ammi I Colori鈥� (2003), which is a documentary, sort of, and needs to be seen from start to finish in that order to get a full sense of the quiet dramatic power that lurks beneath its LoRes visuals. Unfortunately, the leader is a bit short, so what seems to be the introduction gets mixed up with the end credits. We first see a lighted window in a shadowy, non-descript tenement block and hear music from within. A car briefly illuminates the walls, revealing a surprising patchwork of vivid colours. The car passes and they fall back into gloom. Now the camera is moving, looking sideways. Facades as bright and varied as jellybean assortments meet earth and rubble where the pavements should be. Arc lights on the cruising vehicle bleach out the leafless trees in the foreground and catch wan-looking dogs snuffling about wooden gangplanks that link the doorways with the road. In the background, block after block is saturated in technocolor.
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