{"id":35863,"date":"2026-07-15T12:09:50","date_gmt":"2026-07-15T10:09:50","guid":{"rendered":"https:\/\/faktiditor.ch\/?p=35863"},"modified":"2026-07-15T12:09:51","modified_gmt":"2026-07-15T10:09:51","slug":"pertej-kronologjise-dialoget-e-koleksionit-ne-galerine-kombetare-te-kosoves","status":"publish","type":"post","link":"https:\/\/faktiditor.ch\/?p=35863","title":{"rendered":"P\u00ebrtej kronologjis\u00eb, dialog\u00ebt e koleksionit n\u00eb Galerin\u00eb Komb\u00ebtare t\u00eb Kosov\u00ebs"},"content":{"rendered":"

Ilir Muharremi, kritik i artit<\/p>\n

Rihapja e Galeris\u00eb Komb\u00ebtare t\u00eb Kosov\u00ebs m\u00eb 9 korrik nuk sh\u00ebnohet vet\u00ebm nga transformimi arkitektonik i hap\u00ebsir\u00ebs, por edhe nga m\u00ebnyra se si ekspozita e kuruar nga Hana Halilaj e koncepton koleksionin si nj\u00eb organiz\u00ebm t\u00eb gjall\u00eb, t\u00eb aft\u00eb p\u00ebr t\u2019u rishikuar vazhdimisht. Qysh para hyrjes n\u00eb galeri, vizitori p\u00ebrballet me vepr\u00ebn \u201cParadise\u201d t\u00eb Sislej Xhaf\u00ebs, e vendosur n\u00eb an\u00ebn e majt\u00eb t\u00eb nj\u00eb hap\u00ebsire t\u00eb rrafsh\u00ebt e t\u00eb gjelb\u00ebruar. Nuk \u00ebsht\u00eb nj\u00eb skulptur\u00eb q\u00eb dominon territorin p\u00ebrmes monumentalitetit klasik; p\u00ebrkundrazi, ajo krijon nj\u00eb nd\u00ebrprerje konceptuale mes natyr\u00ebs s\u00eb kontrolluar dhe ideologjis\u00eb s\u00eb parajs\u00ebs. \u201cParadise\u201d nuk premton nj\u00eb utopi, por e ekspozon at\u00eb si konstrukt politik dhe kulturor. E vendosur jasht\u00eb nd\u00ebrtes\u00ebs, vepra funksionon si nj\u00eb prag kritik: p\u00ebrpara se vizitori t\u00eb hyj\u00eb n\u00eb ekspozit\u00eb, ai kalon p\u00ebrmes nj\u00eb pyetjeje mbi kufirin nd\u00ebrmjet natyr\u00ebs, pushtetit dhe imagjinat\u00ebs kolektive.<\/p>\n

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Brenda galeris\u00eb, kjo ide zhvillohet n\u00eb nj\u00eb narrativ\u00eb shum\u00eb m\u00eb t\u00eb gjer\u00eb. Ekspozita nuk nd\u00ebrton nj\u00eb histori lineare t\u00eb artit n\u00eb Kosov\u00eb, por nj\u00eb rrjet marr\u00ebdh\u00ebniesh ku peizazhi, figura njer\u00ebzore, memoria dhe trauma historike nd\u00ebrthuren vazhdimisht. Kjo \u00ebsht\u00eb nj\u00eb ekspozit\u00eb q\u00eb nuk k\u00ebrkon t\u00eb ilustroj\u00eb evolucionin formal t\u00eb artit, por m\u00ebnyrat se si arti ka prodhuar forma t\u00eb ndryshme t\u00eb t\u00eb menduarit mbi vendin dhe p\u00ebrkat\u00ebsin\u00eb.<\/p>\n

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Nj\u00eb nga aspektet m\u00eb t\u00eb fuqishme t\u00eb ekspozit\u00ebs \u00ebsht\u00eb dialogu nd\u00ebrbrezor. Veprat e koleksionit historik nuk paraqiten si dokumente muzeale t\u00eb mbyllura, por si pika reference q\u00eb fitojn\u00eb kuptime t\u00eb reja p\u00ebrball\u00eb praktikave bashk\u00ebkohore. Peizazhi, q\u00eb n\u00eb pikturat e brezit t\u00eb viteve shtat\u00ebdhjet\u00eb shfaqej si nj\u00eb hap\u00ebsir\u00eb e qet\u00eb, shpesh idilike dhe metaforike, n\u00eb veprat m\u00eb t\u00eb reja shnd\u00ebrrohet n\u00eb territor t\u00eb negociimit politik, ekologjik dhe identitar.<\/p>\n

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N\u00eb sall\u00ebn kryesore, pikturat monumentale krijojn\u00eb nj\u00eb rit\u00ebm t\u00eb ngadalt\u00eb vizual. Ngjyrat e err\u00ebta, tonalitetet e tok\u00ebs, t\u00eb kuqet dramatike dhe gjelb\u00ebrimet e dendura nd\u00ebrtojn\u00eb nj\u00eb atmosfer\u00eb ku figura njer\u00ebzore nuk \u00ebsht\u00eb m\u00eb qendra absolute e kompozimit. N\u00eb disa raste ajo reduktohet n\u00eb nj\u00eb siluet\u00eb t\u00eb vetmuar, nd\u00ebrsa n\u00eb t\u00eb tjera zhduket krejt\u00ebsisht, duke ia l\u00ebn\u00eb vendin peizazhit si subjekt i kujtes\u00ebs. Pik\u00ebrisht kjo zhvendosje e v\u00ebmendjes nga individi drejt territorit \u00ebsht\u00eb nj\u00eb nga arritjet m\u00eb t\u00eb r\u00ebnd\u00ebsishme t\u00eb ekspozit\u00ebs.<\/p>\n

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Instalacioni tekstil me p\u00eblhur\u00ebn e verdh\u00eb q\u00eb rrjedh nga muri, i nd\u00ebrthurur me qilimin tradicional dhe elementin organik t\u00eb err\u00ebt, nd\u00ebrpret logjik\u00ebn klasike t\u00eb ekspozimit. Ai krijon nj\u00eb tension nd\u00ebrmjet trash\u00ebgimis\u00eb materiale dhe transformimit bashk\u00ebkohor, duke sugjeruar se identiteti nuk \u00ebsht\u00eb nj\u00eb objekt i ruajtur, por nj\u00eb proces i vazhduesh\u00ebm deformimi, migrimi dhe rikrijimi. Materialet e buta bien lirsh\u00ebm n\u00eb hap\u00ebsir\u00eb, nd\u00ebrsa forma e sip\u00ebrme organike krijon ndjesin\u00eb e nj\u00eb organizmi q\u00eb vazhdon t\u00eb rritet p\u00ebrtej kufijve t\u00eb murit.<\/p>\n

Nj\u00eb tjet\u00ebr bosht i r\u00ebnd\u00ebsish\u00ebm \u00ebsht\u00eb m\u00ebnyra se si ekspozohen grafikat, vizatimet dhe fotografit\u00eb. N\u00eb vend q\u00eb t\u00eb funksionojn\u00eb si seksione dyt\u00ebsore, ato nd\u00ebrtojn\u00eb nj\u00eb regjist\u00ebr intim t\u00eb ekspozit\u00ebs. Portretet, figurat simbolike dhe kompozimet grafike krijojn\u00eb nj\u00eb kontrast me monumentalitetin e pikturave, duke rikthyer v\u00ebmendjen te njeriu, kujtesa individuale dhe rr\u00ebfimet personale. Kjo alternanc\u00eb mes shkall\u00ebve t\u00eb ndryshme t\u00eb p\u00ebrfaq\u00ebsimit e b\u00ebn ekspozit\u00ebn ritmikisht t\u00eb balancuar.<\/p>\n

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Arkitektura e rinovuar e Galeris\u00eb luan nj\u00eb rol po aq t\u00eb r\u00ebnd\u00ebsish\u00ebm sa vet\u00eb veprat. Hap\u00ebsirat e gjera, distancat mes punimeve dhe drita neutrale lejojn\u00eb q\u00eb \u00e7do vep\u00ebr t\u00eb ruaj\u00eb autonomin\u00eb e saj, nd\u00ebrsa nj\u00ebkoh\u00ebsisht t\u00eb mbetet pjes\u00eb e nj\u00eb narrative t\u00eb p\u00ebrbashk\u00ebt. Nuk kemi mbingarkes\u00eb vizuale; p\u00ebrkundrazi, ekziston nj\u00eb ndjesi frym\u00ebmarrjeje q\u00eb i jep koh\u00eb shikuesit t\u00eb nd\u00ebrtoj\u00eb marr\u00ebdh\u00ebnien me secil\u00ebn vep\u00ebr.<\/p>\n

Kuratorja Hana Halilaj arrin t\u00eb shmang\u00eb nj\u00eb nga rreziqet m\u00eb t\u00eb zakonshme t\u00eb ekspozitave t\u00eb koleksioneve: renditjen kronologjike si q\u00ebllim n\u00eb vetvete. N\u00eb vend t\u00eb saj, ajo propozon nj\u00eb lexim tematik dhe konceptual, ku koha nuk paraqitet si progres linear, por si bashk\u00ebjetes\u00eb e shum\u00eb koh\u00ebve historike. Pik\u00ebrisht titulli, \u201cJo gjith\u00eb njer\u00ebzit ekzistojn\u00eb n\u00eb t\u00eb Tashmen e nj\u00ebjt\u00eb\u201d, b\u00ebhet \u00e7el\u00ebsi interpretues i gjith\u00eb ekspozit\u00ebs. Ai sugjeron se p\u00ebrvoja historike nuk \u00ebsht\u00eb e nj\u00ebjt\u00eb p\u00ebr t\u00eb gjith\u00eb dhe se arti \u00ebsht\u00eb nj\u00eb nga format m\u00eb t\u00eb fuqishme p\u00ebr ta b\u00ebr\u00eb t\u00eb dukshme k\u00ebt\u00eb shum\u00ebsi koh\u00ebsh.<\/p>\n

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N\u00eb fund, ekspozita nuk ofron p\u00ebrgjigje p\u00ebrfundimtare mbi identitetin, historin\u00eb apo kujtes\u00ebn. Ajo krijon nj\u00eb hap\u00ebsir\u00eb ku k\u00ebto nocione mbeten t\u00eb hapura, t\u00eb negociueshme dhe shpesh kontradiktore. Pik\u00ebrisht k\u00ebtu q\u00ebndron vlera e saj m\u00eb e madhe: nuk synon t\u00eb nd\u00ebrtoj\u00eb nj\u00eb histori zyrtare t\u00eb artit t\u00eb Kosov\u00ebs, por t\u00eb tregoj\u00eb se koleksioni institucional mund t\u00eb lexohet vazhdimisht ndryshe. Duke filluar me \u201cParadise\u201d t\u00eb Sislej Xhaf\u00ebs si nj\u00eb prag kritik dhe duke vazhduar me dialogun kompleks mes veprave historike e bashk\u00ebkohore, ekspozita e rihapjes s\u00eb Galeris\u00eb Komb\u00ebtare t\u00eb Kosov\u00ebs shnd\u00ebrrohet n\u00eb nj\u00eb reflektim t\u00eb thell\u00eb mbi m\u00ebnyr\u00ebn se si arti prodhon koh\u00eb, kujtes\u00eb dhe hap\u00ebsira t\u00eb reja mendimi.<\/p>\n

Brenda k\u00ebsaj narrative kuratoriale bashk\u00ebjetojn\u00eb breza t\u00eb ndrysh\u00ebm artist\u00ebsh, duke krijuar nj\u00eb hart\u00eb komplekse t\u00eb zhvillimit t\u00eb artit n\u00eb Kosov\u00eb. Veprat e Muslim Mulliqit, Simon Shirok\u00ebs, Adem Kastratit, Agim Rudit, Agim \u00c7avdarbash\u00ebs, Rexhep Ferrit, Kadrush Ram\u00ebs, Isa Alimusajt, Esat Vall\u00ebs, Gjelosh Gjokajt, Hysni Krasniqit, Tahir Emr\u00ebs, Nebih Muqirit, Masar Cak\u00ebs, Halil Muhaxhirit, Bedri Emr\u00ebs, Feriha Rad\u00ebs, Zake Prelvukajt, Hyrije Kryp\u00ebs, Fatmir Kryp\u00ebs, Nimon Lokajt, Xhevdet Xhaf\u00ebs, Vlada Radovi\u0107it, Hilmija \u0106atovi\u0107it, Violeta Xhaferit dhe Valbona Zherk\u00ebs hyjn\u00eb n\u00eb dialog me praktikat bashk\u00ebkohore t\u00eb Sislej Xhaf\u00ebs, Petrit Halilajt, Alban Muj\u00ebs, Driant Zenelit, Doruntina Kastratit, Driton Hajredinit, Bora Babo\u00e7it, Brilant Milazimit, Budim Berish\u00ebs, Jakup Ferrit, Lala Meredith Vul\u00ebs dhe Rudina Xhaferit, duke krijuar nj\u00eb struktur\u00eb ekspozuese ku historia nuk paraqitet si kronologji e mbyllur, por si nj\u00eb rrjet marr\u00ebdh\u00ebniesh estetike, politike dhe kulturore.<\/p>\n

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N\u00eb k\u00ebt\u00eb kuptim, \u201cJo gjith\u00eb njer\u00ebzit ekzistojn\u00eb n\u00eb t\u00eb Tashmen e nj\u00ebjt\u00eb\u201d nuk \u00ebsht\u00eb vet\u00ebm ekspozita e rihapjes s\u00eb Galeris\u00eb Komb\u00ebtare t\u00eb Kosov\u00ebs, por edhe nj\u00eb rishkrim kritik i historis\u00eb s\u00eb artit kosovar p\u00ebrmes dialogut nd\u00ebrmjet rreth 43 artist\u00ebve, ku \u00e7do vep\u00ebr b\u00ebhet pjes\u00eb e nj\u00eb reflektimi t\u00eb ri mbi kujtes\u00ebn, territorin, identitetin dhe t\u00eb tashmen.<\/p>\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Ilir Muharremi, kritik i artit Rihapja e Galeris\u00eb Komb\u00ebtare t\u00eb Kosov\u00ebs m\u00eb 9 korrik nuk…<\/p>\n","protected":false},"author":1,"featured_media":35867,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[],"class_list":["post-35863","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kulture"],"_links":{"self":[{"href":"https:\/\/faktiditor.ch\/index.php?rest_route=\/wp\/v2\/posts\/35863","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/faktiditor.ch\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/faktiditor.ch\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/faktiditor.ch\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/faktiditor.ch\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=35863"}],"version-history":[{"count":1,"href":"https:\/\/faktiditor.ch\/index.php?rest_route=\/wp\/v2\/posts\/35863\/revisions"}],"predecessor-version":[{"id":35868,"href":"https:\/\/faktiditor.ch\/index.php?rest_route=\/wp\/v2\/posts\/35863\/revisions\/35868"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/faktiditor.ch\/index.php?rest_route=\/wp\/v2\/media\/35867"}],"wp:attachment":[{"href":"https:\/\/faktiditor.ch\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=35863"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/faktiditor.ch\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=35863"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/faktiditor.ch\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=35863"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}