An exhibition under the title “Gradishta – Tempus Captum” realized by Mikaela Minga, Orestia Kapedani and Frekli Vjero, brings together the images, voices and visible and invisible borders of the internment and labor camp in Gradishta, Lushnja. In a place that repeats history due to the installation of a culture of impunity, every research, artistic and aesthetic approach that confronts us with guilt and mistakes that touch the boundaries of crimes, makes society aware, at least a little, of the role of the individual among the masses. In this sense, confronting the past does not have the role of pitying the former convicts, nor calming them, but remains an obligation of a civilized society in its process of remaining civilized or passing from one ruler to another.

"Despite the geographical erasure of the toponym, the former archaeology of Gradishte-Sektor is still tangible, visible and audible. We trace it in the silence and gradual destruction of the settlements of those who left after the regime fell; but especially in those who, for various reasons, continued to live there during these 35 years. We also catch it in the residents who arrived after the '90s, mainly from the northeast of Albania, and in the contrast between those who have been able to build new houses, some of which remain tentative, and those settled in the old ones, including the infamous barracks. But, above all, we trace it in the human experience and in the way in which the dilemmas and difficulties of today are very often projected into the past", writes musicologist Mikaela Minga in the text of the exhibition. For him, the past thus comes and haunts the present, as one of the characters in the exhibition, Mrs. Mynyre, rightly observes when she says that if you are persecuted once, you will be persecuted for life.

In an interview with News24, Minga dwells on elements of exhibition and memory, highlighting our need to remember. She notes that the Gradishta of this installation is not simply a location, but a habitus. “Through this binomial between analog photography and sound recorded on the ground and then composed in the form of sound preludes, we seek to convey both the physical dimension of this environment, as well as its vital, spiritual dimension.”