Adrian Paci

Adrian Paci, Albania / Italy
Adrian Paci portrait

Adrian Paci was born in 1969 in Shkodër, Albania. He lives and works in Milan. In 1997, Paci and his family escaped violent riots in Albania, and arrived in Italy. He decided to explore a new means of expression through videos.

His experience of exile, the shock of separation and the adaptation to a new culture urged him to discover the roots of his past. From this, ‘being at a crossroads, at the frontier of two separate identities, underlies all [his] films’. Paci uses his own experience, and that of his family and friends, to create responses to such issues as exile, identity, memory and collective history.

With Public Delivery Video festival Fairy Tales, 2015

Fairy Tales - Taipei Museum of Contemporary Art

Fairy Tales was a video art festival at the Plaza of the Museum of Contemporary Art, Taipei, Taiwan.

Lida Abdul, Afghanistan
Said Atabekov, Kazakhstan
Mohamed Bourouissa, Algeria
Chen Chieh-Jen, Taiwan
Cao Fei, China
Yang Fudong, China
Cyprien Gaillard, France
Dejan Kaludjerović, Yugoslavia
Mari Kim, South Korea
Kamin Lertchaiprasert, Thailand
Taus Makhacheva, Russia
Almagul Menlibayeva, Kazakhstan
Mariko Mori, Japan
Ahmet Ögüt, Turkey
Adrian Paci, Italy
Public Delivery, South Korea
Wang Qingsong, China
Walid Raad, Lebanon
Cheng Ran, China & Item Idem, France
Taps & Moses, Germany
Guido van der Werve, Netherlands
Erwin Wurm, Austria
Miao Xiaochun, China



Adrian Paci – The Column, 2013, video, color, sound, 25 min 40 sec, Courtesy of the artist and kaufmann repetto, Milano/New York

Exhibited: The Column, 2013

The Column deals with migration, placelessness, the repercussions of globalization, and the transformation of cultural identities. He got the idea for the work when he learned that it is possible to order giant marble sculptures in China, which, to cut costs, are hewn by a team of workers on a freighter en route to Europe.

Paci’s film shows in calm sequences the extraction of the marble block in China, it being loaded onto the freighter, and the work of the sculptors on the high seas. At the same time, it addresses the drawbacks of the global flow of goods, ideas, and labor.

The Column is both documentation and cinematic metaphor, from the hardness of the marble, he transitions poetically to the real workers’ conditions.

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