Gjergj Luca with the two « mad » of Albanian Tallava, in the Gramsh Town City

« They had never come to Gramsh in the quiet two Albanian madmen, Syçi and Bled Mane. They came, saw and did not cease to spoke. I don’t know this appetite to speak, in me or Fahriu? » – It is this description that accompanies the video posted by Gjergj Luca on his social networks. A video documenting the visit of two controversial figures, Ilir Demaliaj and Bled Manes, to the mural complex covering the Fish Factory Factory in Gramsh – an investment of « Rozafa », not only as an economic venture, but as an opportunity for hundreds of girls and women of an area often forgotten.

In the eyes of these two visitors, who on this trip more observe than analyze, Luca – amid his characteristic laughter – tries to explain the inscriptions and drawings that fill the factory walls. But this is not just a painting landscape; It is a spectacle where grotesque, parody, stinging irony, and cynicism intertwine to create a unique reaction and revolt scene.

Gjergj Luca, on this forgotten corner of Albania, has not merely built a fish processing plant, but has also set up a powerful handful against hypocrisy and political fraud. Like a few else, he has the courage to say and do what many others, hardworking and honest people like him, only think, but leave their revolt to be extinguished with the will to react. Through his murals in Gramsh, he does not simply paint, but whips and strikes, accuses and punishes, targets a whole caste proving that the true voices of the protest are not silent – they simply find new ways to denounce.

This visit of the « two madmen » and the third in this Grotesque spectacle, Gjergj Luca, at a time when Albania is stuck in electoral battles, appears as a different form of reading political reality. In this atmosphere aggravated by empty rhetoric and promises consumed, Gramsh’s murals have another mission: to ridicule, shake, challenge. They speak seriously even when approaching the cartoon reality, with the slogans of the dictatorship and with the classic templates of the political spectacle, turning the irony into a weapon sharper than any electoral speech.
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