Across the Sea from Venice, Albanian Studio Crafts Carnival Masks

Since opening its doors in 1997, Angoni's studio has produced hundreds of thousands of masks. Adnan Beci / AFP
Since opening its doors in 1997, Angoni's studio has produced hundreds of thousands of masks. Adnan Beci / AFP
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Across the Sea from Venice, Albanian Studio Crafts Carnival Masks

Since opening its doors in 1997, Angoni's studio has produced hundreds of thousands of masks. Adnan Beci / AFP
Since opening its doors in 1997, Angoni's studio has produced hundreds of thousands of masks. Adnan Beci / AFP

As carnival celebrations are held across the globe, more than two dozen craftsmen in a quaint studio in northern Albania put the final touches on a series of elegant Venetian masks destined for balls, film sets, and street parties.
Every year, the Venice Art Mask Factory in Albania's Shkoder produces more than 20,000 hand-crafted masks, including 1,700 unique pieces this year alone, to be donned by carnival revellers from Rio to Tokyo.
A lion's share of the masks crafted this season were delivered across the Adriatic Sea to Venice, where this year's carnival was dedicated to Marco Polo -- one of the city's most iconic residents with celebrations marking 700 years since his death.
"With feathers, lace or Swarovski crystals, Venetian masks this year are made to attract all eyes thanks to their sparkling elegance," Edmond Angoni, the owner and leading artist behind the Venice Art Mask Factory, told AFP.
Angoni also owns eight shops in Venice where his creations -- costumes, gilded masks, and sumptuous dresses -- are sold for up to 5,000 euros ($5,350) each.
Among the most popular items this year are large animal masks inspired by the works of Austrian painter Gustav Klimt and Czech artist Alphonse Mucha.
Each new model is first sculpted in clay, then smoothed over with layers of paper mache.
The process includes nearly a dozen stages and it can take weeks to complete a single piece.
"Each mask has its own story, its own spirit, its own mystery and magic. Above all, each mask is a work of art," said Gise Zeqo, who has been working at the studio since it opened 27 years ago.
Since opening its doors in 1997, Angoni's studio has produced hundreds of thousands of masks, including those worn in Stanley Kubrick's erotic thriller "Eyes Wide Shut", starring Nicole Kidman and Tom Cruise.
"From the simplest to the most extravagant, large or small, each mask is a unique piece, a unique work of art," Angoni told AFP.
Alongside classic masks of Harlequin and Pulcinella that hark back to the Venice of old, new pieces feature the faces of Marilyn Monroe and Michael Jackson along with characters from the Netflix hit "Money Heist".
"Each mask has its own story, its own spirit, its own mystery and magic. Above all, each mask is a work of art," said Gise Zeqo, who has been working at the studio since it opened 27 years ago.
Since opening its doors in 1997, Angoni's studio has produced hundreds of thousands of masks, including those worn in Stanley Kubrick's erotic thriller "Eyes Wide Shut", starring Nicole Kidman and Tom Cruise.
"From the simplest to the most extravagant, large or small, each mask is a unique piece, a unique work of art," Angoni told AFP.
Alongside classic masks of Harlequin and Pulcinella that hark back to the Venice of old, new pieces feature the faces of Marilyn Monroe and Michael Jackson along with characters from the Netflix hit "Money Heist".



Scientists Rebuild Face of 400-year-old Polish 'Vampire'

A three-dimensional reconstruction of Zosia's face, a woman buried as a vampire, is pictured, in this undated handout photo taken in Stockholm, Sweden. Oscar Nilsson - Project Pien/Handout via REUTERS
A three-dimensional reconstruction of Zosia's face, a woman buried as a vampire, is pictured, in this undated handout photo taken in Stockholm, Sweden. Oscar Nilsson - Project Pien/Handout via REUTERS
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Scientists Rebuild Face of 400-year-old Polish 'Vampire'

A three-dimensional reconstruction of Zosia's face, a woman buried as a vampire, is pictured, in this undated handout photo taken in Stockholm, Sweden. Oscar Nilsson - Project Pien/Handout via REUTERS
A three-dimensional reconstruction of Zosia's face, a woman buried as a vampire, is pictured, in this undated handout photo taken in Stockholm, Sweden. Oscar Nilsson - Project Pien/Handout via REUTERS

Buried with a padlock on her foot and an iron sickle across her neck, "Zosia" was never supposed to be able to come back from the dead.
Entombed in an unmarked cemetery in Pien, northern Poland, the young woman was one of dozens feared by her neighbors to have been a "vampire".
Now, using DNA, 3D printing and modelling clay, a team of scientists has reconstructed Zosia's 400-year-old face, revealing the human story buried by supernatural beliefs, Reuters reported.
"It's really ironic, in a way," said Swedish archaeologist Oscar Nilsson. "These people burying her, they did everything they could in order to prevent her from coming back from the dead... we have done everything we can in order to bring her back to life."
Zosia, as she was named by locals, was found in 2022 by a team of archaeologists from Torun's Nicolaus Copernicus University.
Aged 18-20 when she died, analysis of Zosia's skull suggests she suffered from a health condition which would have caused fainting and severe headaches, as well as possible mental health issues, Nilsson said.
The sickle, the padlock and certain types of wood found at the grave site were all believed at the time to hold magical properties protecting against vampires, according to the Nicolaus Copernicus team.
Zosia's was Grave No. 75 at the unmarked cemetery in Pien, outside the northern city of Bydgoszcz. Among the other bodies found at the site was a "vampire" child, buried face down and similarly padlocked at the foot.
Little is known of Zosia's life, but Nilsson and the Pien team say items she was buried with point to her being from a wealthy — possibly noble — family.
The 17th century Europe she lived in was ravaged by war, something Nilsson suggests created a climate of fear in which belief in supernatural monsters was commonplace.
Nilsson's recreation began with creating a 3D printed replica of the skull, before gradually building layers of plasticine clay "muscle by muscle" to form a life-like face.
He uses bone structure combined with information on gender, age, ethnicity and approximate weight to estimate the depth of facial features.
"It's emotional to watch a face coming back from the dead, especially when you know the story about this young girl," Nilsson says.
Nilsson said he wanted to bring Zosia back "as a human, and not as this monster that she is buried as".