{"id":4145,"date":"2017-11-20T12:14:43","date_gmt":"2017-11-20T10:14:43","guid":{"rendered":"https:\/\/sbunker.org\/?p=4145"},"modified":"2025-01-09T12:16:49","modified_gmt":"2025-01-09T10:16:49","slug":"morendo-apo-ngulfatja-e-artit-kosovar-ne-pese-kohe-iii","status":"publish","type":"post","link":"https:\/\/sbunker.org\/sr\/kritike\/morendo-apo-ngulfatja-e-artit-kosovar-ne-pese-kohe-iii\/","title":{"rendered":"Morendo! Apo ngulfatja e artit kosovar n\u00eb pes\u00eb koh\u00eb – III"},"content":{"rendered":"
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Pjesa e tret\u00eb<\/p>\n<\/div>\n

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Pjesa I<\/a>\u00a0& II<\/a><\/p>\n

Allegro vivace<\/strong><\/p>\n

Burra t\u00eb v\u00ebrtet\u00eb p\u00ebr t\u00eb cil\u00ebt d\u00ebshp\u00ebrimi \/ Ushqen zjarrin gllab\u00ebrues t\u00eb shpres\u00ebs \/\u00a0Le ta hapim s\u00eb bashku gonxhen e fundit t\u00eb s\u00eb ardhmes.<\/em><\/p>\n

Me k\u00ebto fjal\u00eb, poeti francez Paul Eluard, p\u00ebrmes vjersh\u00ebs s\u00eb tij \u201cFitorja e Guernic\u00ebs\u201d, p\u00ebrshkruante tranformimin e vullnetar\u00ebve t\u00eb luft\u00ebs civile n\u00eb Spanj\u00eb: nga nihilizmi mbret\u00ebrues n\u00eb nj\u00eb konfidenc\u00eb t\u00eb re. T\u00eb pasurit konfidenc\u00eb, e ve\u00e7an\u00ebrisht rikthimin e konfidenc\u00ebs brenda nj\u00eb situat\u00eb nihiliste dhe t\u00eb pashpres\u00eb, n\u00ebnkupton t\u00eb pasurit nj\u00eb Ide, dhe, t\u00eb qenit besnik ndaj nj\u00eb Ideje. Imperativi bot\u00ebror sot \u00ebsht\u00eb, si\u00e7 do t\u00eb thoshte Badiou: \u201cJeto pa asnj\u00eb Ide\u201d. Ky imperativ q\u00eb buron nga qendra e bot\u00ebs, respektivisht \u00abqendrat\u00bb e kapitalit (nga New Yorku n\u00eb Lond\u00ebr, nga Parisi n\u00eb Tokyo, nga Milano n\u00eb Berlini, e k\u00ebshtu me rradh\u00eb), merret si referenc\u00eb dogmatike edhe nga \u00abperiferia\u00bb e qendrave t\u00eb kapitalit. Ky imperativ bot\u00ebror i bashk\u00ebdyzuar me nj\u00eb \u2018moment bosh\u2019 shoq\u00ebror ekzistues n\u00eb Kosov\u00eb merr p\u00ebrmasa edhe m\u00eb t\u00eb terrshme: \u201cMos guxo t\u00eb kesh ndonj\u00eb Ide\u201d. N\u00eb mes t\u00eb imperativave \u201cJeto pa asnj\u00eb ide\u201d dhe \u201cMos guxo t\u00eb kesh ndonj\u00eb ide\u201d ekziston nj\u00eb dallim esencial: p\u00ebrderisa e para n\u00ebnkupton t\u00eb jetuarit e subjektit n\u00eb form\u00ebn pasivizohu-konsumo, kjo e dyta n\u00ebnkupton, p\u00ebrve\u00e7 tjerash, edhe dhun\u00eb pasivizohu-mos mendo-mos provo. Anipse dhuna e n\u00ebnkuptuar mund t\u00eb ket\u00eb form\u00eb simbolike, emocionale, psikologjike apo edhe fizike, var\u00ebsisht nga rrethanat dhe konteksti, megjithat\u00eb, ajo prap\u00eb mbetet dhun\u00eb.<\/p>\n

N\u00eb kushte t\u00eb tilla jan\u00eb kulturb\u00ebr\u00ebsit, artist\u00ebt ata q\u00eb duhet t’i japin jet\u00eb rezistenc\u00ebs ndaj imperativit dominues. Jan\u00eb ata, paras\u00ebgjithash, q\u00eb duhet t\u00eb k\u00ebputen me k\u00ebt\u00eb imperativ. Pik\u00ebrisht si n\u00eb rastin e Podrimjes ku ai u k\u00ebput me fashizmin dhe kolonializmin serb n\u00eb Kosov\u00eb apo n\u00eb rastin e Eluard ku ai u k\u00ebput me fashizmin spanjoll. T\u00eb dyt\u00eb, Podrimja dhe Eluard, nuk rezistuan t\u00eb jetojn\u00eb pa Ide, nuk rezistuan t\u00eb jetojn\u00eb me imperativin e at\u00ebkohsh\u00ebm: \u201cMos guxo t\u00eb kesh ndonj\u00eb Ide\u201d. T\u00eb dyt\u00eb, Podrimja dhe Eluard, p\u00ebrmes artit t\u00eb tyre\u2014poezis\u00eb\u2014i rezistuan shtypjes, \u00e7njer\u00ebzimit, vdekjes. Por si mund ta p\u00ebrshkruajm\u00eb situat\u00ebn ekzistuese n\u00eb Kosov\u00eb, sidomos n\u00eb relacion me artin? A ka rezistenc\u00eb ndaj ngulfatjes s\u00eb artit? P\u00ebr t\u2019ju p\u00ebrgjigjur, pjes\u00ebrisht, k\u00ebtyre pyetjeve duhet t\u00eb rikujtojm\u00eb nj\u00eb rr\u00ebfim t\u00eb famsh\u00ebm n\u00eb qarqet e disident\u00ebve q\u00eb p\u00ebrshkuran m\u00eb s\u00eb miri kot\u00ebsin\u00eb apo mos-efektivitetin e protestave\/revoltave t\u00eb tyre. N\u00eb shekullin e pes\u00ebmb\u00ebdhjet\u00eb, kur Rusia ishte pushtuar nga Mongol\u00ebt, nj\u00eb fshatar\u00a0s\u00eb bashku me gruan po ecnin n\u00eb rrug\u00ebt e fshatit t\u00eb mbuluar me pluhur. Nj\u00eb ushtar mongol q\u00eb q\u00ebntronte mbi kal\u00eb, ndaloi af\u00ebr tyre dhe i tha fshatarit se ai tani do ta\u00a0dhunonte gruan e tij; pastaj ai vazhdoi duke i th\u00ebn\u00eb: \u201cmeqense ka shum\u00eb pluhun n\u00eb tok\u00eb, t\u00eb urdh\u00ebroj q\u00eb t\u2019\u00eb m’i mbash testikujt n\u00eb duar gjat\u00eb dhunimit t\u00eb gruas t\u00ebnde, n\u00eb m\u00ebnyr\u00eb q\u00eb t\u00eb mos m\u00eb pluhnosen!\u201d Menj\u00ebher\u00eb sapo ushtari mongol e kreu aktin e dhunimit dhe iku me kalin e tij, fshatari filloi t\u00eb qesh\u00eb dhe brohoras\u00eb me t\u2019madhe. Gruaja e tij e sapodhunuar, e \u00e7uditur, e pyet: \u201csi mund t\u00eb brohoras\u00ebsh nga g\u00ebzimi gjersa un\u00eb sapo u dhunova brutalisht n\u00eb prezenc\u00ebn tande?\u201d Fshatari i p\u00ebrgjigjet: \u201cPo, ama un\u00eb ja ngula atij! Testikujt e tij jan\u00eb t\u00eb mbuluara me pluhun!\u201d. Slavoj ?i?ek e interpreton k\u00ebt\u00eb rr\u00ebfim t\u00eb trisht\u00eb duke th\u00ebn\u00eb se e \u201czbulon predikamentin e disident\u00ebve, t\u00eb cil\u00ebt mendonin se po i jepnin goditje serioze\u00a0nomenklatur\u00ebs s\u00eb partis\u00eb, por gjith\u00e7ka q\u00eb ata kishin b\u00e2 ishte nj\u00eb pluhurizim i leht\u00eb i testikujve t\u00eb nomenklatur\u00ebs, teksa elita qeveris\u00ebse vazhdonte t’i dhunonte njer\u00ebzit.\u201d.<\/p>\n

A nuk \u00ebsht\u00eb n\u00eb nj\u00eb pozicion t\u00eb till\u00eb sot edhe gjendja e artist\u00ebve n\u00eb Kosov\u00eb? Me fjal\u00eb tjera, e gjith\u00eb rezistenca e treguar ndaj ngulfatjes s\u00eb artit nuk \u00ebsht\u00eb gj\u00eb tjet\u00ebr ve\u00e7se pak pluhun n\u00eb testikujt e ideologjis\u00eb hegjemonike n\u00eb Kosov\u00eb. K\u00ebshtu mund ta marrim si shembull (pseudo)rezistenc\u00ebn ndaj Projektligjit mjerues p\u00ebr Sponsorizime dhe Donacione n\u00eb Fush\u00ebn e Kultur\u00ebs, Rinis\u00eb dhe Sportit e miratuar n\u00eb 2015, dhe si rezistenc\u00eb ndaj s\u00eb cil\u00ebs u themelua Rrjeti i Institucioneve t\u00eb Pavarura t\u00eb Artit dhe Kultur\u00ebs. Ky Rrjet, q\u00eb n\u00eb t\u2019v\u00ebrtet\u00eb mund t\u00eb kishte potencial p\u00ebr organizimin e nj\u00eb rezistence autentike, u kthye n\u00eb shambllonin tipik t\u00eb rezistenc\u00ebs-pa-rezistenc\u00eb, t\u00eb udh\u00ebhequr nga nj\u00eb grup i borgjezis\u00eb s\u00eb vog\u00ebl avangarde t\u00eb Prishtin\u00ebs. P\u00ebr t\u00eb p\u00ebrdor\u00eb termat e ?i?ekut, nj\u00eblloj sikurse kafja pa kafein\u00eb apo birra pa alkool, krejt \u00e7ka Rrjeti b\u00ebri ishte pak rezistenc\u00eb-pa-rezistenc\u00eb duke i pluhunos\u00eb k\u00ebshtu vet\u00ebm testikujt e Ministris\u00eb s\u00eb Kultur\u00ebs, Rinis\u00eb dhe Sportit p\u00ebrmes kund\u00ebr-informacioneve n\u00eb form\u00eb t\u00eb statuseve n\u00eb Facebook, apo kumtesave p\u00ebr media, t\u00eb pasuara nga konferenca p\u00ebr media.<\/p>\n

N\u00eb an\u00ebn tjet\u00ebr, n\u00ebse kemi ndonj\u00eb thyerje artistike me ideologjin\u00eb dominante, me normat shoqnore, dhe n\u00ebse ekziston nj\u00eb jet\u00ebsim artistik q\u00eb \u2018shqet\u00ebson\u2019 shoq\u00ebrin\u00eb, mediat, normat dhe ideologjin\u00eb dominante sa her\u00eb q\u00eb performon, k\u00ebt\u00eb m\u00eb s\u00eb miri e b\u00e2n kolektivi artistik Haveit. Ndryshe nga Rrjeti, t\u00eb izoluar nga kontaminimi me ideologjin\u00eb dominante, jo-konformist, performues n\u00eb hap\u00ebsira publike dhe n\u00eb bashk\u00ebbisedim\/kontakt me masat \u2013 Haveit p\u00ebrfaq\u00ebsojn\u00eb at\u00eb q\u00eb Antonio Gramshi mund ta quante \u201cluft\u00eb t\u00eb pozicioneve\u201d n\u00eb miniatur\u00eb. \u00cbsht\u00eb pik\u00ebrisht \u201clufta e pozicioneve\u201d q\u00eb mund t\u00eb sh\u00ebrbej\u00eb si strategji p\u00ebr t\u00eb dal\u00eb nga ky predikament dhe p\u00ebr t\u00eb hartuar nj\u00eb rezistenc\u00eb demokratike dhe koherente ndaj ideologjis\u00eb dominante. Sigurisht q\u00eb nj\u00eb strategji e till\u00eb nuk lejon kalkulime oportuniste dhe kontaminim me ideolgjin\u00eb dominante ekzistuese; k\u00ebto dy t\u00eb fundit kurthe t\u00eb p\u00ebrdorura nga ideologjia hegjemonike ekzistuese p\u00ebr t\u00eb asimiluar dhe \u00e7\u2019montuar \u00e7do rezistenc\u00eb duke i absorbuar k\u00ebto t\u00eb fundit kadal-kadal n\u00eb terrenin e vet.<\/p>\n

5. Finito<\/p>\n

Si mund ta lexojm\u00eb tentativ\u00ebn e pasukses t\u00eb L\u00e9onit me Ninotchk\u00ebn n\u2019filmin e Ernst Lubitsch? A nuk ka ndodhur e nj\u00ebjta gj\u00eb me parullat \u201cliri dhe pamvar\u00ebsi\u201d? Me fjal\u00eb tjera: a nuk ishin k\u00ebrkesat e popullit \u201cliri, pamvar\u00ebsi dhe demokraci\u201d gjat\u00eb gjith\u00eb periudh\u00ebs s\u00eb represionit serb t\u00eb para luft\u00ebs, dhe \u00e7far\u00eb n\u00eb t\u00eb vert\u00ebt\u00eb populli mori pas luft\u00ebs ishte liri, pamvar\u00ebsia dhe demokraci por pa drejt\u00ebsi, pa barazi, pa solidaritet dhe me shum\u00eb korrupsion. N\u00eb t\u00eb nj\u00ebjt\u00ebn linj\u00eb mund t\u00eb themi edhe p\u00ebr artin: sot kemi art pa art, apo art t\u00eb komodifikuar p\u00ebr treg dhe konsum.<\/p>\n

Skena e filmit \u201cNinotchka\u201d mbyllet k\u00ebshtu: L\u00e9on i zem\u00ebruar q\u00eb Ninotchka nuk po qesh me barcolet\u00ebn e tij, edhe pse myshterit\u00eb tjer\u00eb n\u00eb kafe po qeshnin me t\u00eb madhe, fillon t\u2019ja rip\u00ebrs\u00ebris\u00eb Ninotchk\u00ebs barcolet\u00ebn me kamarier dhe kafe. Por, n\u00eb rip\u00ebrs\u00ebritje e sip\u00ebr, L\u00e9oni ja huq barcolet\u00ebs duke e b\u00e2 situat\u00ebn edhe m\u00eb perplekse. I zem\u00ebruar deri n\u00eb fund, L\u00e9oni e t\u00ebrhjek karrig\u00ebn m\u00eb mbrapa p\u00ebr t’u larguar nga Ninotchka, dhe n\u00eb qortim e sip\u00ebr q\u00eb vet\u00ebm ajo nuk po qesh me barcolet\u00ebn e tij, ai rr\u00ebzohet nga karrika dhe k\u00ebshtu gjith\u00eb kafeneja qesh me t\u00eb.<\/p>\n

Krejt \u00e7ka arti n\u00eb Kosov\u00eb ka nevoj\u00eb sot \u00ebsht\u00eb rr\u00ebzimi nga karriga e ideologjis\u00eb dominante neoliberale, e maskuar me \u00abzhvillim\u00bb dhe \u00abprogres\u00bb t\u00eb ngjyr\u00ebs s\u00eb verdh\u00eb, n\u00eb m\u00ebnyr\u00eb q\u00eb t\u00eb gjith\u00eb ne t\u00eb qeshim, nj\u00ebher\u00eb e p\u00ebrgjithmon\u00eb, me rilindjen e artit t\u00eb ri kosovar.<\/p>\n<\/div>\n

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Pjesa e tret\u00eb Pjesa I\u00a0& II Allegro vivace Burra t\u00eb v\u00ebrtet\u00eb p\u00ebr t\u00eb cil\u00ebt d\u00ebshp\u00ebrimi \/ Ushqen zjarrin gllab\u00ebrues t\u00eb shpres\u00ebs \/\u00a0Le ta hapim s\u00eb bashku gonxhen e fundit t\u00eb s\u00eb ardhmes. Me k\u00ebto fjal\u00eb, poeti francez Paul Eluard, p\u00ebrmes vjersh\u00ebs s\u00eb tij \u201cFitorja e Guernic\u00ebs\u201d, p\u00ebrshkruante tranformimin e vullnetar\u00ebve t\u00eb luft\u00ebs civile n\u00eb Spanj\u00eb: […]<\/p>","protected":false},"author":175,"featured_media":11786,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[2052,11,1322],"ppma_author":[204],"class_list":["post-4145","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike","tag-arti","tag-kosova","tag-kritike"],"authors":[{"term_id":204,"user_id":175,"is_guest":0,"slug":"ron-salaj","display_name":"Ron Salaj","avatar_url":{"url":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/10\/download-3-10.jpg","url2x":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/10\/download-3-10.jpg"},"user_url":"","last_name":"Salaj","first_name":"Ron","description":"Ron Salaj \u00ebsht\u00eb aktivist dhe hulumtues nd\u00ebrdisplinor mbi t\u00eb drejtat e njeriut, media dhe teknologji, kritik\u00eb teorike, dhe politik\u00eb. "}],"_links":{"self":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/4145","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/users\/175"}],"replies":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/comments?post=4145"}],"version-history":[{"count":3,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/4145\/revisions"}],"predecessor-version":[{"id":11787,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/4145\/revisions\/11787"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media\/11786"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media?parent=4145"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/categories?post=4145"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/tags?post=4145"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/ppma_author?post=4145"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}