Whereas neighboring socialist countries embraced the glory of their past or catered to the charm-loving tourist market, Tirana turned its back on the past and sought to re-create itself in a modern, free way. The futuristic cityscape of Tirana is largely the result of not having a large architectural inheritance along with the desire of Mayor Rama's experiment of freedom. As such, the city has quite a clean slate on which to rebrand its future and build a city on a modern scale that is more common to Dubai than other European capitals.

In a society that was quite conformist until recently, the cultural and arts scene is providing for experiments in a new individualism and redefinition of Albanian culture. Though much smaller by comparison to those of the world's major capitals, Tirana too has the Tirana Institute of Contemporary Art (TICA) and the Modern Art Museum. The Tirana Biennale has been Albania's most ambitious art event. TICA has played a role in motivating a vital art scene through exhibitions, film screenings and performance events as well as to create a forum for discussions and debates about art, politics and power.

Suzanna Kuka, of the National Gallery, explains that Albanians artists, after the commissioned social realism of the Communist period, and the experimental styles in the 1990s, are now finding their voices. Tirana, Albania's capital is mother to the rebirth of art in the contemporary sense. Artists are beginning to exhibit both at home and abroad, and are approaching art in a sensible way. Mrs. Kuka says that Albanian artists are still dealing with the legacy of Communism and are still in transition. She explains, "The older generation will probably always be in transition, but the younger generation is reflecting on its individuality and developing a consciousness of self. From that consciousness, great Albanian contemporary art will emerge."

Working in residence at the National Gallery, Heldi Pem, tackles issues of social change in his art. Working mostly through video and photography, he looks at the radical changes taking place in the city. His commentaries also provide a healthy check and balance against unguarded optimism: though he recognizes that the city is alive with change, he stresses the importance of maintaining social cohesion. Luxury cars side-by-side with those who can barely afford to take the bus is not sustainable. Similarly, it is important to have a city alive with art on its buildings, but attention needs to be paid to what happens inside those buildings.

According to historian Tomi Treska, all that glitters in Tirana may now have turned to gold but just scratch the surface, and most Albanians know that the elite of the country are still connected to the ghosts of the past. As Mr. Treska states, “These are strong businessmen now running companies that will lead our country towards a future tied with Europe, but don’t ask where their first million Euros came from.” Regardless of the sometimes untidy motivations of its history, it seems that optimism is alive and well in Albania these days, from the aspiration to fashionable couture, to the vibrant art scene, to the birth of a twenty-first century architectural identity. It’s well worth coming to see for yourself what a national commitment to the arts is achieving in a hitherto dark and less-traveled corner of Europe.

Christopher Varady is a humanitarian relief worker currently based in the Middle East. He contributes travel articles on destinations experiencing social change that we all can appreciate and encourage.