Broken Narrative provides an extensive reflection on history, politics, and contemporary art, revolving around the cornerstones of the artistic practice of Albanian artist Armando Lulaj. The core of the book is formed by and extended interview of Lulaj by Italian artist and writer Marco Mazzi. This inquiry starts in the year 1997, a year of social and political upheaval in Albania, of anarchy, controversies and emigration, of toxic seeds of neoliberalism sprouting in an already wounded country, and continues to the present day, where politics, hidden behind art forms, has practically destroyed (again) every different and possible future of the country. This book also sketches out a connection between the recent Albanian political context and contemporary art by considering the realities of Albania as essential for an understanding of the dynamics of international power in contemporary art and architecture, and the role of politics therein. Broken Narrative comes in a bilingual English-Japanese edition, in part as homage to the subtle esthetics of Japanese poetry, which has inspired many of the Lulaj's works, while equally evoking the subversive films of the Red Army, active in Japan at the turn of the 1960s and '70s. Broken Narrative contains a double preface in English by Albanian scholar Jonida Gashi and in Japanese by photographer Osamu Kanemura. Armando Lulaj was born in Tirana in 1980. He is a writer of plays, texts on risk territories, filmmaker, and producer of conflict images. He's research is orientated towards accentuating the border between economical power, fictional democracy, and social disparity in a global context. His main topics of interest remain power, corruption and institutional critique. Lulaj has participated in many international exhibitions and film festivals. His works are part of various important private and public collections. Armando Lulaj is one of the founders of DebatikCenter of Contemporary Art. Marco Mazzi (1980) is an Italian photographer and writer living and working between Florence, Tokyo, and Tirana. Mazzi studied Contemporary Literature at the University of Florence and has also studied Japanese avant-garde art and visual poetry in Japan. In 2008, Mazzi founded the non-profit organization Relational Cinema Association within the University of Waseda in Tokyo. Mazzi was photographer-in-residence at The Department of Eagles (Tirana, Albania) during the conference Pedagogies of Disaster and for the project Lapidari, and he was the stage and still photographer for Armando Lulaj's Recapitulation (2015), commissioned by the 2015 Venice Biennale' s Albanian Pavilion.

Stalinism, that particularly brutal phase of the Communist experience, came to an end in most of Europe with the death of Stalin in 1953. However, in one country - Albania - Stalinism survived virtually unscathed until 1990. The regime that the Albanian dictator Enver Hoxha led from 1944 until his death in 1985 was incomparably severe. Such was the reign of terror that no audible voice of opposition or dissent ever arose in the Balkan state and Albania became isolated from the rest of the world and utterly inward-looking. Three decades after his death, the spectre of Hoxha still lingers over the country, yet many people – inside and outside Albania – know little about the man who ruled the country with an iron fist for so many decades. This book provides the first biography of Hoxha available in English. Using unseen documents and first-hand interviews, journalist Blendi Fevziu pieces together the life of a tyrannical ruler in a biography which will be essential reading for anyone interested in Balkan history and communist studies

'It is not a recognized mental illness like agoraphobia or depression ... It's largely a matter of luck whether one suffers from border syndrome: it depends where you were born. I was born in Albania.' After spending his childhood and school years in Albania, imagining that the miniskirts and quiz shows of Italian state TV were the reality of life in the West, and fantasizing accordingly about living on the other side of the border, the death of Hoxha at last enables Gazmend Kapllani to make his escape. However, on arriving in the Promised Land, he finds neither lots of willing leggy lovelies nor a warm welcome from his long-lost Greek cousins. Instead, he gets banged up in a detention centre in a small border town. As Gazi and his fellow immigrants try to find jobs, they begin to plan their future lives in Greece, imagining riches and successes which always remain just beyond their grasp. The sheer absurdity of both their plans and their new lives is overwhelming. Both detached and involved, ironic and emotional, Kapllani interweaves the story of his experience with meditations upon 'border syndrome' - a mental state, as much as a geographical experience - to create a brilliantly observed, amusing and perceptive debut.

The contributors to this study critically de-construct Albanian myths and offer insights into Albanian history and politics. They conclude with contemporary Albanian critiques of the origins and functions of Albanian politics and ideologies.