{"id":7012,"date":"2026-04-27T10:44:37","date_gmt":"2026-04-27T10:44:37","guid":{"rendered":"https:\/\/faktiditor.ch\/?p=7012"},"modified":"2026-04-27T10:44:37","modified_gmt":"2026-04-27T10:44:37","slug":"eksodi-si-kujtese-e-gjalle","status":"publish","type":"post","link":"https:\/\/faktiditor.ch\/?p=7012","title":{"rendered":"Eksodi si kujtes\u00eb e gjall\u00eb"},"content":{"rendered":"

Ilir Muharremi, kritik i artit
\nEkspozita \u201cEksodi Bllaca \u201899\u201d, e organizuar nga Jahja Lluka, e hapur jav\u00eb m\u00eb par\u00eb n\u00eb Galerin\u00eb \u201cFlori Gallery\u201d vendoset si nj\u00eb akt i r\u00ebnd\u00ebsish\u00ebm kulturor dhe memorial, q\u00eb synon rikthimin e nj\u00eb prej ngjarjeve m\u00eb dramatike t\u00eb historis\u00eb s\u00eb fundit t\u00eb Kosov\u00ebs. N\u00eb k\u00ebt\u00eb ekspozit\u00eb, \u00e7mimi i par\u00eb i \u00ebsht\u00eb dh\u00ebn\u00eb artistit Haki Xhakli, \u00e7mimi i dyt\u00eb Esat Valla, nd\u00ebrsa \u00e7mimi i tret\u00eb Merita Myderrizi Maloku, duke d\u00ebshmuar nj\u00eb gam\u00eb t\u00eb gjer\u00eb qasjesh artistike ndaj s\u00eb nj\u00ebjt\u00ebs tem\u00eb bosht: eksodi i vitit 1999.
\nTematika qendrore e punimeve \u00ebsht\u00eb p\u00ebrqendruar n\u00eb p\u00ebrvoj\u00ebn e shp\u00ebrnguljes masive, ku fytyrat e trishtura t\u00eb njer\u00ebzve, portretet e f\u00ebmij\u00ebve, rrug\u00ebt e gjata t\u00eb ikjes dhe situatat rr\u00ebqeth\u00ebse t\u00eb kolapsit human krijojn\u00eb nj\u00eb narrativ\u00eb vizuale t\u00eb fuqishme dhe t\u00eb dhimbshme. K\u00ebto imazhe nuk funksionojn\u00eb vet\u00ebm si p\u00ebrfaq\u00ebsim i nj\u00eb ngjarjeje historike, por si gjurm\u00eb emocionale t\u00eb nj\u00eb kolektivi t\u00eb t\u00ebr\u00eb q\u00eb ka p\u00ebrjetuar humbje, frik\u00eb dhe pasiguri. Ekspozita \u201cEksodi Bllaca \u201899\u201d artikulon nj\u00eb hap\u00ebsir\u00eb t\u00eb nd\u00ebrmjetme mes kujtes\u00ebs individuale dhe asaj kolektive, duke e shnd\u00ebrruar p\u00ebrvoj\u00ebn historike n\u00eb nj\u00eb struktur\u00eb vizuale q\u00eb reziston harres\u00ebs. Ajo nuk paraqitet si nj\u00eb rikthim linear n\u00eb ngjarje, por si nj\u00eb proces i vazhduesh\u00ebm i rishkrimit t\u00eb traum\u00ebs, ku arti funksionon si medium i nd\u00ebrgjegjes dhe d\u00ebshmis\u00eb. N\u00eb k\u00ebt\u00eb kontekst, ngjarja e vitit 1999 nuk trajtohet vet\u00ebm si fakt historik, por si nj\u00eb prani e p\u00ebrhershme q\u00eb rikthehet p\u00ebrmes gjuh\u00ebs s\u00eb form\u00ebs, ngjyr\u00ebs dhe gjestit piktural. Spektri kromatik q\u00eb l\u00ebviz nga tonet e ngrohta n\u00eb ato t\u00eb ftohta dhe neutrale krijon tensione emocionale dhe psikologjike, duke reflektuar kontrastet e p\u00ebrvoj\u00ebs s\u00eb eksodit: dhimbjen dhe shpres\u00ebn, humbjen dhe q\u00ebndres\u00ebn, zbraz\u00ebtin\u00eb dhe mbijetes\u00ebn.<\/p>\n

Qasjet stilistike jan\u00eb t\u00eb shum\u00ebfishta, por t\u00eb bashkuara n\u00eb nj\u00eb sensibilitet t\u00eb p\u00ebrbashk\u00ebt ekspresiv. Ekspresionizmi i theksuar shfaqet si reagim i drejtp\u00ebrdrejt\u00eb ndaj traum\u00ebs, ku deformimi i figur\u00ebs dhe intensiteti i ngjyr\u00ebs b\u00ebhen bart\u00ebs t\u00eb nj\u00eb t\u00eb v\u00ebrtete t\u00eb brendshme. N\u00eb an\u00ebn tjet\u00ebr, dimensioni surreal krijon nj\u00eb hap\u00ebsir\u00eb t\u00eb nd\u00ebrgjegjes s\u00eb trazuar, ku realiteti dhe kujtesa nd\u00ebrthuren n\u00eb imazhe q\u00eb sfidojn\u00eb logjik\u00ebn lineare. Abstraksioni, si reduktim i form\u00ebs n\u00eb esenc\u00eb, sh\u00ebrben si m\u00ebnyr\u00eb p\u00ebr t\u00eb artikuluar at\u00eb q\u00eb \u00ebsht\u00eb e pashprehshme p\u00ebrmes figuracionit, duke e zhvendosur v\u00ebmendjen nga narrativi drejt p\u00ebrvoj\u00ebs s\u00eb past\u00ebr emocionale.<\/p>\n

Nj\u00eb pjes\u00eb e veprave bartin pesh\u00ebn e koh\u00ebs s\u00eb krijimit, t\u00eb realizuara n\u00eb vet\u00eb vitin 1999, duke funksionuar si dokumente t\u00eb drejtp\u00ebrdrejta t\u00eb nj\u00eb realiteti t\u00eb p\u00ebrjetuar n\u00eb moment. T\u00eb tjerat, t\u00eb krijuara n\u00eb distanc\u00eb kohore, d\u00ebshmojn\u00eb nj\u00eb proces reflektimi dhe sedimentimi t\u00eb kujtes\u00ebs, ku trauma nuk zhduket, por transformohet n\u00eb nj\u00eb gjuh\u00eb m\u00eb t\u00eb p\u00ebrpunuar artistike. Kjo bashk\u00ebjetes\u00eb e koh\u00ebve krijon nj\u00eb dialog kompleks mes p\u00ebrvoj\u00ebs s\u00eb menj\u00ebhershme dhe rikujtimit, mes d\u00ebshmis\u00eb dhe interpretimit. N\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb, ekspozita tejkalon funksionin e saj p\u00ebrfaq\u00ebsues dhe b\u00ebhet nj\u00eb akt etik. Ajo k\u00ebrkon nga shikuesi jo vet\u00ebm t\u00eb shoh\u00eb, por t\u00eb p\u00ebrfshihet n\u00eb nj\u00eb proces t\u00eb nd\u00ebrgjegj\u00ebsimit dhe t\u00eb p\u00ebrgjegj\u00ebsis\u00eb ndaj historis\u00eb. Fytyrat e njer\u00ebzve t\u00eb lodhur, trupat n\u00eb l\u00ebvizje, f\u00ebmij\u00ebt n\u00eb gjendje pasigurie dhe rrug\u00ebt e shp\u00ebrnguljes krijojn\u00eb nj\u00eb arkiv vizual t\u00eb dhimbjes kolektive, q\u00eb nuk lejon neutralitet estetik.<\/p>\n

Kujtesa k\u00ebtu nuk \u00ebsht\u00eb nj\u00eb arkiv statik, por nj\u00eb energji aktive q\u00eb k\u00ebrkon t\u00eb mbahet gjall\u00eb p\u00ebrmes formave artistike. N\u00eb fund, kjo ekspozit\u00eb nuk synon t\u00eb jap\u00eb p\u00ebrgjigje t\u00eb mbyllura, por t\u00eb hap\u00eb nj\u00eb territor reflektimi, ku e kaluara vazhdon t\u00eb flas\u00eb n\u00eb t\u00eb tashmen. Ajo na kujton se kujtesa \u00ebsht\u00eb nj\u00eb akt i vazhduesh\u00ebm p\u00ebrgjegj\u00ebsie, nd\u00ebrsa arti mbetet nj\u00eb nga format m\u00eb t\u00eb fuqishme t\u00eb d\u00ebshmis\u00eb njer\u00ebzore. N\u00eb nj\u00eb nivel m\u00eb t\u00eb thell\u00eb filozofik, kjo ekspozit\u00eb e vendos dhimbjen si kategori ekzistenciale, jo vet\u00ebm si ndjenj\u00eb. Dhimbja k\u00ebtu nuk \u00ebsht\u00eb momentale, por nj\u00eb gjendje e qenies q\u00eb shtrihet p\u00ebrtej koh\u00ebs lineare. Ajo b\u00ebhet kujtes\u00eb e trup\u00ebzuar, nj\u00eb prani q\u00eb nuk zhduket, por transformohet n\u00eb imazh. N\u00eb k\u00ebt\u00eb kuptim, eksodi nuk \u00ebsht\u00eb vet\u00ebm l\u00ebvizje fizike e njer\u00ebzve, por nj\u00eb p\u00ebrmbysje ontologjike ku njeriu p\u00ebrballet me kufirin e vet, me humbjen e sht\u00ebpis\u00eb, identitetit dhe siguris\u00eb. Filozofia e k\u00ebsaj ngjarjeje q\u00ebndron n\u00eb faktin se dhimbja nuk mbetet private; ajo kalon n\u00eb kolektive dhe shnd\u00ebrrohet n\u00eb vet\u00ebdije historike. Arti, n\u00eb k\u00ebt\u00eb rast, nuk e sh\u00ebron plot\u00ebsisht dhimbjen, por e b\u00ebn t\u00eb mendueshme, t\u00eb komunikueshme dhe t\u00eb p\u00ebrbashk\u00ebt.
\nDisa nga artist\u00ebt pjesmarr\u00ebs: Aferdita Merovci, Agron Mulliqi, Ahmet Gashi, Alma Brajshori, Anila Hetoja, Anxherka Mexelxhiu, Arbenita K\u00ebrgeli, Arianit Lakna, Ari Thaqi, Arsim Kajtazi, Artan Xhakli, Avni Behluli, Avni Islami, Bardha Buza, Bedrije Hamiti, Bije Jasiqi, Bislim Elshani, Dioneta Kabashi, Driton Kastrati, Dusi Sadri, Enver Rakovica, Faton Mazreku, Merita Myderrizi Maloku, Vjosa Bujari Maliqi…<\/p>\n

<\/p>\n

<\/p>\n

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

Ilir Muharremi, kritik i artit Ekspozita \u201cEksodi Bllaca \u201899\u201d, e organizuar nga Jahja Lluka, e…<\/p>\n","protected":false},"author":1,"featured_media":7016,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[],"class_list":["post-7012","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\/7012","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=7012"}],"version-history":[{"count":1,"href":"https:\/\/faktiditor.ch\/index.php?rest_route=\/wp\/v2\/posts\/7012\/revisions"}],"predecessor-version":[{"id":7017,"href":"https:\/\/faktiditor.ch\/index.php?rest_route=\/wp\/v2\/posts\/7012\/revisions\/7017"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/faktiditor.ch\/index.php?rest_route=\/wp\/v2\/media\/7016"}],"wp:attachment":[{"href":"https:\/\/faktiditor.ch\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=7012"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/faktiditor.ch\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=7012"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/faktiditor.ch\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=7012"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}