Arti mbetet nj\u00eb mjet i fuqish\u00ebm p\u00ebr t\u00eb sfiduar pabarazin\u00eb gjinore, p\u00ebr t\u00eb p\u00ebrforcuar z\u00ebrat e grave dhe p\u00ebr t\u00eb riformuar narrativat kulturore. Grat\u00eb artiste vazhdojn\u00eb t\u00eb rip\u00ebrcaktojn\u00eb shprehjen artistike, duke d\u00ebshmuar se arti nuk ka t\u00eb b\u00ebj\u00eb vet\u00ebm me estetik\u00ebn, por ka t\u00eb b\u00ebj\u00eb edhe me ndryshimin, rezistenc\u00ebn dhe transformimin.<\/p>\n
N\u00eb Bienalen e 60-t\u00eb t\u00eb Venecias n\u00eb vitin 2024, artistja nga Kosova Doruntina Kastrati<\/em> t\u00ebrhoqi v\u00ebmendje t\u00eb madhe me instalimin e saj skulpturor \u201cHeshtjet kumbuese t\u00eb metalit dhe l\u00ebkur\u00ebs\u201d <\/em>me t\u00eb cilin fitoi Mir\u00ebnjohje t\u00eb ve\u00e7ant\u00eb p\u00ebr p\u00ebrfaq\u00ebsim komb\u00ebtar nga Juria nd\u00ebrkomb\u00ebtare e k\u00ebsaj Bienale. Ky projekt artistik i prezantuar n\u00eb Pavijonin e Republik\u00ebs s\u00eb Kosov\u00ebs ka p\u00ebr fokus p\u00ebrvojat e grave n\u00eb ekonomin\u00eb e periudh\u00ebs s\u00eb tranzicionit, pabarazit\u00eb n\u00eb vendin e pun\u00ebs si dhe pasojat e shfryt\u00ebzimit t\u00eb pun\u00ebs, ve\u00e7an\u00ebrisht n\u00eb sektorin industrial t\u00eb Kosov\u00ebs s\u00eb pasluft\u00ebs.<\/p>\n Instalimi i Kastratit hedh drit\u00eb mbi rr\u00ebfimet e shpeshta t\u00eb anashkaluara t\u00eb grave t\u00eb pun\u00ebsuara n\u00eb kushte jo t\u00eb mira brenda sektorit industrial. Ajo e p\u00ebrq\u00ebndroi pun\u00ebn e saj n\u00eb historit\u00eb e disa pun\u00ebtoreve gra n\u00eb nj\u00eb fabrik\u00eb t\u00eb \u00ebmb\u00eblsirave turke n\u00eb Prizren. K\u00ebto gra durojn\u00eb or\u00eb t\u00eb gjata t\u00eb pun\u00ebs s\u00eb p\u00ebrs\u00ebritur, n\u00eb k\u00ebmb\u00eb, q\u00eb \u00e7on n\u00eb d\u00ebmtime t\u00eb r\u00ebnda fizike; gati nj\u00eb e treta e tyre i jan\u00eb n\u00ebnshtruar operacioneve t\u00eb z\u00ebvend\u00ebsimit t\u00eb gjurit p\u00ebr shkak t\u00eb natyr\u00ebs s\u00eb mundimshme t\u00eb pun\u00ebs s\u00eb tyre. Protezat metalike t\u00eb implantuara n\u00eb trupat e tyre sh\u00ebrbejn\u00eb si gjurm\u00eb dhe si kujtes\u00eb p\u00ebr or\u00ebt e gjata t\u00eb pun\u00ebs intensive p\u00ebrkund\u00ebr pagave t\u00eb ul\u00ebta.<\/p>\n Instalimi p\u00ebrmban kat\u00ebr skulptura metalike t\u00eb pavarura, dy t\u00eb modeluara sipas l\u00ebvozhgave t\u00eb arr\u00ebs \u2013 frut ky p\u00ebrb\u00ebr\u00ebs ky\u00e7 n\u00eb prodhimin e \u00ebmb\u00eblsirave turke (llokumeve) dhe dy t\u00eb tjera t\u00eb modeluara sipas protezave kirurgjikale t\u00eb implantuara n\u00eb trupin e pun\u00ebtoreve. K\u00ebto skulptura jan\u00eb t\u00eb krijuara nga materiale q\u00eb evokojn\u00eb si makinerin\u00eb e ftoht\u00eb t\u00eb mjediseve industriale ashtu edhe implantet metalike brenda trupit t\u00eb pun\u00ebtoreve. Ky dualitet simbolizon aspektet dehumanizuese t\u00eb pun\u00ebs industriale dhe sakrificat personale t\u00eb b\u00ebra nga k\u00ebto gra. Kastrati ka zgjedhur jo rast\u00ebsisht metalin si material, sepse nj\u00eb prekje e vog\u00ebl b\u00ebn q\u00eb k\u00ebto skulptura metalike t\u00eb vibrojn\u00eb, duke emetuar tinguj. Vizitor\u00ebt mund t\u00eb kalojn\u00eb p\u00ebrreth tyre, ti prekin, apo madje t\u00eb ulen brenda skulpturave, p\u00ebr t\u2019u b\u00ebr\u00eb pjes\u00eb e p\u00ebrvoj\u00ebs s\u00eb plot\u00eb vizuale dhe zanore, dhe nj\u00ebkoh\u00ebsisht p\u00ebr t\u2019u zhytur n\u00eb rr\u00ebfimet e vepr\u00ebs.<\/p>\n N\u00ebp\u00ebrmjet shprehjes artistike, Kastrati amplifikon z\u00ebrat e grave t\u00eb margjinalizuara, duke i sjell\u00eb historit\u00eb e tyre nga periferia n\u00eb qend\u00ebr t\u00eb diskursit t\u00eb artit bashk\u00ebkohor. Puna e saj sfidon audienc\u00ebn p\u00ebr t\u00eb kuptuar, p\u00ebr t\u00eb reflektuar dhe pse jo edhe p\u00ebr t\u2019u p\u00ebrballur me pabarazit\u00eb sistematike me t\u00eb cilat p\u00ebrballen grat\u00eb n\u00eb industrit\u00eb e pun\u00ebs, edhe at\u00eb jo vet\u00ebm n\u00eb Kosov\u00eb, por gjithandej. Duke nd\u00ebrthurur nganj\u00ebher\u00eb edhe historit\u00eb personale me shprehjen artistike, Kastrati kontribuon n\u00eb krijimin e nj\u00eb hap\u00ebsire \u200b\u200bp\u00ebr d\u00ebgjim dhe reflektim kolektiv sa i p\u00ebrket pabarazive gjinore, t\u00eb drejtave t\u00eb pun\u00ebs dhe ndikimit t\u00eb tranzicioneve socio-ekonomike n\u00eb jet\u00ebn e grave.<\/p>\n Arti mbetet nj\u00eb mjet i fuqish\u00ebm p\u00ebr t\u00eb sfiduar pabarazin\u00eb gjinore, p\u00ebr t\u00eb p\u00ebrforcuar z\u00ebrat e grave dhe p\u00ebr t\u00eb riformuar narrativat kulturore. Grat\u00eb artiste vazhdojn\u00eb t\u00eb rip\u00ebrcaktojn\u00eb shprehjen artistike, duke d\u00ebshmuar se arti nuk ka t\u00eb b\u00ebj\u00eb vet\u00ebm me estetik\u00ebn, por ka t\u00eb b\u00ebj\u00eb edhe me ndryshimin, rezistenc\u00ebn dhe transformimin. N\u00eb Bienalen e 60-t\u00eb […]<\/p>\n","protected":false},"author":25,"featured_media":10654,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[344],"tags":[188],"class_list":["post-10653","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pertej-siperfaqes","tag-art"],"yoast_head":"\nThis material is completely or partly financed by UK International Development and The Kvinna till Kvinna Foundation, that do not necessarily agree with the opinions expressed within. The author alone is responsible for the content.<\/em><\/strong><\/h5>","protected":false},"excerpt":{"rendered":"