{"id":6158,"date":"2021-10-12T15:34:40","date_gmt":"2021-10-12T13:34:40","guid":{"rendered":"https:\/\/sbunker.org\/?p=6158"},"modified":"2024-10-02T15:38:37","modified_gmt":"2024-10-02T13:38:37","slug":"metamorfoza-dhe-zerat-paralele","status":"publish","type":"post","link":"https:\/\/sbunker.org\/sr\/kritike\/metamorfoza-dhe-zerat-paralele\/","title":{"rendered":"Metamorfoza dhe Z\u00ebrat paralel\u00eb"},"content":{"rendered":"
\n

N\u00eb hap\u00ebsir\u00ebn e \u201cKino Rinis\u00eb\u201d, artisti Maksut Vezgishi realizoi nj\u00eb intervenim artistik me titull \u201cZ\u00ebrat paralel\u00eb\u201d. Q\u00ebllimi ishte t\u00eb ringjalleshin praktikat ‘anti-sistem’ si rezistenc\u00eb ndaj ‘hegjemonis\u00eb planetare’ dhe ideologjis\u00eb si ‘kapitalizmi neoliberal’.<\/strong><\/p>\n

Hap\u00ebsir\u00ebn e \u201cKino Rinis\u00eb\u201d t\u00eb d\u00ebmtuar nga mosp\u00ebrdorimi, e cila p\u00ebr m\u00eb shum\u00eb se nj\u00eb gjysm\u00ebshekulli ka shfaqur filma p\u00ebr qytetar\u00ebt, artisti Maksut Vezgishi e solli p\u00ebr tri dit\u00eb p\u00ebrs\u00ebri n\u00eb jet\u00eb me an\u00eb t\u00eb nj\u00eb nd\u00ebrhyrjeje origjinale artistike. Objekti i d\u00ebmtuar si nj\u00eb derelikt i ka sh\u00ebrbyer artistit si shembull i shprehjes s\u00eb rezistenc\u00ebs artistike.\u00a0 N\u00eb k\u00ebt\u00eb rast, artisti ka shprehur revolt\u00ebn ndaj ndikimit t\u00eb neoliberalizmit. Neoliberalizmi \u00ebsht\u00eb ngritur n\u00eb nj\u00eb hegjemoni globale n\u00eb koh\u00ebn kur alternativat jan\u00eb m\u00ebnjanuar. Ai ka err\u00ebsuar nj\u00eb varg qasjesh alternative, duke p\u00ebrfshir\u00eb var\u00ebsin\u00eb dhe strukturalizmin. Si pasoj\u00eb e k\u00ebsaj, e gjith\u00eb korniza e referencimit brenda s\u00eb cil\u00ebs arti \u00ebsht\u00eb i shikuar dhe diskutuar sot ka p\u00ebsuar ndryshime.<\/p>\n

Ankandet dikur i ngjasonin teatrit, por sot, Sotheby\u2019s, Christie\u2019s dhe shum\u00eb shitje t\u00eb tjera q\u00eb po b\u00ebhen p\u00ebrmes platformave live stream u ngjasojn\u00eb gjithnj\u00eb e m\u00eb shum\u00eb emisioneve apo spektakleve t\u00eb loj\u00ebrave t\u00eb shitjes. Arti \u00ebsht\u00eb b\u00ebr\u00eb nj\u00eb artikull financiar. Artist\u00ebt jan\u00eb b\u00ebr\u00eb si brende, t\u00eb ranguar sipas \u00e7mimit. Koleksionuesit jan\u00eb ranguar sipas fuqis\u00eb. Bota e artit \u00ebsht\u00eb kthyer n\u00eb t\u00eb dh\u00ebna statistikore, t\u00eb dh\u00ebna emrash dhe vlerash. Artist\u00ebt jan\u00eb kthyer n\u00eb fitues dhe humb\u00ebs, ku pjesa m\u00eb e madhe jan\u00eb b\u00ebr\u00eb humb\u00ebs. (S. Reyburn, 2021)<\/p>\n

\u00cbsht\u00eb leht\u00eb t\u00eb mendohet kjo si nj\u00eb form\u00eb e progresionit t\u00eb pashmangsh\u00ebm dhe t\u00eb paevituesh\u00ebm, sikur tejkalimi i makin\u00ebs s\u00eb shtypit nga kompjuteri. Por, n\u00eb realitet, bota e artit \u00ebsht\u00eb vet\u00ebm nj\u00eb dimension tjet\u00ebr i aktivitetit njer\u00ebzor, i transformuar nga neoliberalizmi, filozofi e cila n\u00eb mas\u00eb t\u00eb vog\u00ebl apo t\u00eb madhe ka form\u00ebsuar jet\u00ebn politike dhe ekonomike t\u00eb Per\u00ebndimit q\u00eb nga vitet e tet\u00ebdhjeta. (S. Reyburn, 2021)<\/p>\n

I themeluar n\u00eb teorit\u00eb e austriakut Friedrich von Hayek (1899-1992) dhe i rafinuar nga ekonomist\u00ebt e Universitetit t\u00eb \u00c7ikagos\u00a0 n\u00eb vitet e shtat\u00ebdhjeta, neoliberalizmi n\u00eb esenc\u00eb ka p\u00ebr q\u00ebllim ta z\u00ebvend\u00ebsoj\u00eb gjykimin subjektiv njer\u00ebzor me vler\u00ebsimin objektiv ekonomik. Apo, ashtu si profesori i ekonomis\u00eb politike William Davies e kishte theksuar n\u00eb studimin e tij t\u00eb vitit 2014, \u201cKufizimet e Neoliberalizmit\u201d (The Limits of Neoliberalism, 2014), kjo \u00ebsht\u00eb nj\u00eb shkoll\u00eb e mendimit q\u00eb ndjek \u201cMagjepsjen e politik\u00ebs nga ekonomia\u201d. N\u00eb k\u00ebt\u00eb logjik\u00eb, bota e artit \u00ebsht\u00eb kthyer n\u00eb t\u00eb dh\u00ebna. Artist\u00ebt jan\u00eb kthyer n\u00eb fitues apo humb\u00ebs, ku pjesa m\u00eb e madhe jan\u00eb b\u00ebr\u00eb humb\u00ebs.<\/p>\n

Si do t\u2019i konsiderojm\u00eb praktikat artistike t\u00eb ken\u00eb p\u00ebrfaq\u00ebsim n\u00eb shoq\u00ebri n\u00ebn dominimin neoliberalist? Kjo pyetje \u00ebsht\u00eb konstante dhe duhet t\u00eb adresohet edhe nga artist\u00ebt e tjer\u00eb, pasi q\u00eb neoliberalizmi, si ideologji e mbetur hegjemoniste, ka mb\u00ebrthyer artin brenda logjik\u00ebs s\u00eb vet. N\u00ebse shikojm\u00eb shtetet e zhvilluara n\u00eb aspektin kulturor dhe ekonomik, n\u00eb t\u00eb cilat ikja nga ideologjia e shtetit t\u00eb mir\u00ebqenies ka mbaruar p\u00ebr mjaft koh\u00eb, prodhimi artistik \u00ebsht\u00eb par\u00eb t\u00eb adoptohet si reagim ndaj k\u00ebtyre ndryshimeve n\u00eb kushtet e jashtme.<\/p>\n

Humbja e logjik\u00ebs s\u00eb shtetit t\u00eb mir\u00ebqenies, q\u00eb ka sjell\u00eb shkurtime drastike t\u00eb buxheteve n\u00eb arte, ka sh\u00ebnuar ndryshimin ideologjik nga modeli i artit t\u00eb p\u00ebrkrahur nga shteti te modeli i artit t\u00eb orientuar nga tregu. K\u00ebto reagime ndaj k\u00ebtyre zhvillimeve tregojn\u00eb tendenc\u00ebn p\u00ebr t\u2019i eksploruar formatet e vetorganizuara dhe institucionale q\u00eb adoptohen ndaj k\u00ebrkesave t\u00eb vet\u00ebmbajtjes.<\/p>\n

Efektet e neoliberalizmit n\u00ebnkuptojn\u00eb nj\u00eb l\u00ebvizje konstante drejt logjik\u00ebs s\u00eb prodhimit t\u00eb orientuar nga tregu dhe m\u00eb pak p\u00ebrkrahje shtet\u00ebrore, m\u00eb pak fonde publike dhe kushte t\u00eb p\u00ebrkeq\u00ebsuara t\u00eb pun\u00ebs. Kjo ka shtyr\u00eb artist\u00ebt dhe ata q\u00eb punojn\u00eb n\u00eb edukim t\u00eb b\u00ebhen \u2013 dhe ta kuptojn\u00eb veten si \u2013 nd\u00ebrmarr\u00ebs n\u00eb nj\u00eb aktivitet q\u00eb \u00ebsht\u00eb b\u00ebr\u00eb gjithnj\u00eb e m\u00eb shum\u00eb i orientuar nga tregu dhe q\u00eb humb funksionin e tij social, pasi \u00ebsht\u00eb i matur n\u00eb terme ekonomike. T\u00eb till\u00eb kemi rastin e \u201cKino Rinis\u00eb\u201d, nj\u00eb objekti t\u00eb kultur\u00ebs i cili p\u00ebr m\u00eb shum\u00eb se nj\u00eb gjysm\u00ebshekulli ka shfaqur filma p\u00ebr qytetar\u00ebt dhe tani i d\u00ebmtuar nga mosp\u00ebrdorimi dhe i privuar nga kujdesi shtet\u00ebror ka mbetur n\u00eb m\u00ebshir\u00eb t\u00eb ekonomis\u00eb s\u00eb tregut.<\/p>\n

N\u00eb an\u00ebn tjet\u00ebr mund t\u00eb shtrohet pyetja se cili mund t\u00eb jet\u00eb ndikimi i artit t\u00eb protest\u00ebs p\u00ebr t\u2019i adresuar k\u00ebto probleme? Ashtu si shkroi mrekulluesh\u00ebm Adorno, \u201ci gjith\u00eb arti \u00ebsht\u00eb nj\u00eb krim i pab\u00ebr\u00eb\u201d, q\u00eb do t\u00eb thot\u00eb se arti me vet\u00eb natyr\u00ebn e tij sfidon status quo-n\u00eb.\u00a0 Prandaj, mund t\u00eb argumentohet se i gjith\u00eb arti \u00ebsht\u00eb n\u00eb nj\u00eb form\u00eb politik n\u00eb kuptimin q\u00eb merr pjes\u00eb n\u00eb hap\u00ebsira publike dhe p\u00ebrfshihet n\u00eb ideologjin\u00eb ekzistuese dhe diskursin dominues. Megjith\u00ebse, arti shpesh mund t\u00eb b\u00ebhet eksplicit dhe politik dhe t\u00eb sh\u00ebrbej\u00eb si form\u00eb e shprehjes s\u00eb protest\u00ebs. P\u00ebrgjat\u00eb historis\u00eb t\u00eb l\u00ebvizjeve sociale dhe revolt\u00ebs sociale, arti gjithmon\u00eb ka reaguar kund\u00ebr shtypjes, dhun\u00ebs, padrejt\u00ebsis\u00eb, dhe jobarazis\u00eb.<\/p>\n

Duke adresuar \u00e7\u00ebshtje socio-politike dhe duke sfiduar kufijt\u00eb tradicional\u00eb dhe hierarkit\u00eb e imponuara nga fuqia, arti krijon hap\u00ebsir\u00eb p\u00ebr t\u00eb margjinalizuarit q\u00eb t\u00eb d\u00ebgjohen dhe t\u00eb kontribuojn\u00eb n\u00eb ndryshimet sociale, duke prodhuar njohuri dhe solidaritet, apo thjesht duke ngritur vet\u00ebdijen. N\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb, jeta personale dhe vepra e artistit tejkalojn\u00eb individualen dhe i flasin n\u00eb form\u00eb kuptimplote nj\u00eb audience m\u00eb t\u00eb madhe duke bashkuar funksionet politike dhe humane t\u00eb artit.<\/p>\n

Zgjimi i Z\u00cbRIT dhe kthimi i DRIT\u00cbS nga Vezgishi n\u00eb objektin e dikursh\u00ebm q\u00eb ishte kinema transformoi dhe gjall\u00ebroi p\u00ebrs\u00ebri hap\u00ebsirat e objektit si sht\u00ebpi e projeksioneve t\u00eb filmit p\u00ebrmes aktivizmit social, si nj\u00eb form\u00eb artistike e shprehjes.<\/p>\n

Vezgishi q\u00ebllimsh\u00ebm p\u00ebrdor forma eksperimentale t\u00eb transmetimit. Operator\u00ebt p\u00ebrmes Z\u00cbRIT e transmetojn\u00eb P\u00cbRDITSHM\u00cbRIN\u00cb e 20 vjet\u00ebve t\u00eb demokracis\u00eb. Publiku provokohet me paqart\u00ebsin\u00eb q\u00eb prodhon kakofonia teknike, e cila nj\u00ebkoh\u00ebsisht ngjall ndjenja t\u00eb kund\u00ebrta observimi, duke i l\u00ebn\u00eb vendin her\u00eb kureshtjes, her\u00eb indiferenc\u00ebs. Sipas Vezgishit, kjo n\u00eb aspektin tematik ndikon edhe n\u00eb gjendjen post \u201890 dhe paqart\u00ebsin\u00eb e shekullit XXI.<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

N\u00eb hap\u00ebsir\u00ebn e \u201cKino Rinis\u00eb\u201d, artisti Maksut Vezgishi realizoi nj\u00eb intervenim artistik me titull \u201cZ\u00ebrat paralel\u00eb\u201d. Q\u00ebllimi ishte t\u00eb ringjalleshin praktikat ‘anti-sistem’ si rezistenc\u00eb ndaj ‘hegjemonis\u00eb planetare’ dhe ideologjis\u00eb si ‘kapitalizmi neoliberal’. Hap\u00ebsir\u00ebn e \u201cKino Rinis\u00eb\u201d t\u00eb d\u00ebmtuar nga mosp\u00ebrdorimi, e cila p\u00ebr m\u00eb shum\u00eb se nj\u00eb gjysm\u00ebshekulli ka shfaqur filma p\u00ebr qytetar\u00ebt, artisti Maksut […]<\/p>","protected":false},"author":313,"featured_media":7952,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[1225,736,1224],"ppma_author":[325],"class_list":["post-6158","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike","tag-anti-sistem","tag-art","tag-kino-rinia"],"authors":[{"term_id":325,"user_id":313,"is_guest":0,"slug":"milot-gusia","display_name":"Milot Gusia","avatar_url":{"url":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/10\/IMG_0046-min-scaled-1.jpg","url2x":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/10\/IMG_0046-min-scaled-1.jpg"},"user_url":"","last_name":"Gusia","first_name":"Milot","description":"Milot Gusia punon si profesor dhe redaktor, si dhe aktivist dhe komentues n\u00eb sken\u00ebn e artit vendor dhe nd\u00ebrkomb\u00ebtar. Gusia ka punuar n\u00eb nj\u00eb num\u00ebr programesh n\u00eb fush\u00ebn e artit dhe kultur\u00ebs. Gusia ka p\u00ebrfunduar studimet master p\u00ebr Dizajn Grafik n\u00eb Universitetin e Prishtin\u00ebs, si dhe ka p\u00ebrfunduar studimet MBA n\u00eb Universitetin Staffordhire n\u00eb Britani t\u00eb Madhe."}],"_links":{"self":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/6158","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\/313"}],"replies":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/comments?post=6158"}],"version-history":[{"count":2,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/6158\/revisions"}],"predecessor-version":[{"id":7953,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/6158\/revisions\/7953"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media\/7952"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media?parent=6158"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/categories?post=6158"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/tags?post=6158"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/ppma_author?post=6158"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}