Public sculpture is a arguable branch of sculpture, as orienting on tastes and beliefs of the public, which is imposed on this variety even from the fact that it has to pass a selection process, can affect creative freedom (even as a protest to these tastes and beliefs). The quantifiable and non-quantifiable contexts created from the relation of the work of art with the urban surrounding give to the sculpture its public character, independently from the fact that the painting has been produced elsewhere. In the year 2009, I was working for the non-governmental organisation “Çohu” in Kosovo and this involved a lot of travelling around and a possibility to take pictures, which among other things happened to be pictures of the public sculpture position in urban’ centers. These sculptures as the urban’ centers themselves are product of a recent time, as Kosovo itself is a new country, as the most well-known sculpture of the country, “Newborn” tells.
The public sculpture gets accomplished even because of the political-administrative support it is provided with. As expected, it is witness of the last war’s battles around the country. At least in its’ majority. The sculpture has heights that vary among 3 and 5 metres. Somewhere attention and talent are provided more abundant and somewhere else saving is a crushing priority. But in general, detail is lacking and variety and technics for getting attention are limited. This is repeatedly present in urban scenery which is also not so diverse and bears clear traces of the rural-oriental past.
The 22 years old hero Edmond Hoxha, killed from Serbian army along the important leader of KLA Zahir Pajaziti in 1999, is remembered in the above shown monument. In the placate accompanying the picture he is represented as a General Major. By searching in internet about this martyr you can easily understand that it is simply a folkloristic ornament without the aesthetic cultivation or communicative capabilities to understand that this first year law student’ sacrifice is only ridiculed by such ignorance.
Exclusions are not excluded, like in some cases of abstractions or monuments inherited from the past, but the typical dominates. The discussion on the materialisation of the public art itself seems to be restricted and wrongly oriented. A meaningful illustration on this context is the quoting from the article from Alter Habitus research report) which says: “ some participants support the idea that the presented martyr should carry a gun so as to be understood that he died fighting, while some others think that this is something to be decided from the artist. 
​How the urban is changing in today’s Kosovo is a question that we have the good luck of being allowed to avoid, although, we cannot avoid. This picture from the relatively peripheral Peja, walking towards the western side of the city, in the winter of 2009, told about a relatively quiet situation although change is present. The increasing presence of wealth in society is surfacing in new buildings. The end of the brutally greedy Serb-communist-Yugoslav state has facilitated the process. How much Peja, Prishtina and Gjilan are similar among them is something that is not clear in these pictures, as it is not clear how everything has changed from 2009, although we know it has changed a lot.
 The individual is at the center of this commemorating activity. The collective is missing in the act of remembering through sculpture. This is an identifying characteristic of the public sculpture in the 2009-s Kosovo, a characteristic that has a defining impact on the style and method chosen for the realization of the work. Complains about the way that heroes are represented are not missing for Kosovo’s media. 
This sculpture in the center of Gilan has the luck of having a little park with it. The Yugoslavian luxury is visible in dimensions and abstractions. There is no name in it. More than one person can see parts of his past in it.  
The antifascist Yugoslavian sculpture is monumental and not individual. There are only few of this kind around the country, among which the most recognizable is the one in Mitrovica not present here but can be found at: http://en.wikipedia.org/wiki/File:Kosovska_Mitrovica_monument.jpg)
​The monument in this picture is located at the entrance of the Peja city’ park. Made in concrete and metal it dominates its surrounding because of its position on the hill. 
Other historical periods of the Albanian people history in Kosovo are less present. In Gjakova there is this monument of the hero Sulejman Vokshi, not particularly beautiful or well made. on the other is the monument of Haxhi Zeka placed in one of the main squares of Peja. ​
      From Peja are also these abstract sculptures placed carefully out of the city’s rhythm. The human, strength, its struggle is present in simple and soft forms. If it’s the right season, you are lost in the right direction and have enough time you can spend some nice moments in their company.