Bolet! Bolet! Bolet! e Flaka Halitit.

Në qendrën për art bashkëkohor “Stacion” në Prishtinë, vazhdon të jetë e hapur ekspozita e artistes Flaka Haliti e titulluar Bolet! Bolet! Bolet!Një ekspozitë që tregon reagimin e saj në ekspozitën “Muslim Mulliqi”. Vetë Flaka flet për Express pse erdhi deri tek reagimi i saj.

Soros Realizm

Me vjen keq qe nuk kam mundesi perkthimi te artikullit influencial te Misko Suvakovic mbi sojin e artit te propoganduar nga Sorosi e Fondacionet e Shoqerive te Hapura neper Ballkan. Marr shkas ta sjell ketu, edhe pse jo ne shqip, si nje koment ne vazhdimsi te atyre qe kam thene mbi nevojen per te shqyrtuar dhe hetuar lidhjet institucionale dhe sponcorizuesit e artit ne Shqiperi pasi keto kane implikime dhe pasoja reale mbi programin, aktivitetin dhe llojin e artit qe mbeshtesin dhe prodhojne. E sjell dhe ne drite te lidhjeve dhe mardhenieve te disa figurave drejtuese e kuratoriale te artit me fondacionin Soros, qe kane lidhur dhe siguruar karrieren e tyre dhe monopolizmin mbi skenen e artit bashkohor ne Shqiperi fale Sorosit. Mullinj ere, tha.   Miško Šuvaković

Critical Phenomenology of Artwork:

The Status, the Functions and the Effects of the Artwork at Manifesta 3

Status and FunctionsSchie 2.0: Holland is a Well Regulated Country, 1999In a certain moment at the beginning of Nineties, in a very particular moment of European history – after the breakdown of Real-Socialism (the Eastern Block) – there was the reconstitution of the function of art and the renewing of criteria of �validity� along the lines of �political correctness� in the Post-Block world. Art has become anew �a matter of culture� with certain functions of mediating the positive social interest in the sense of public or general politics and ethics. The new art of the Nineties obtains social functions (the function of culture and practical politics) of mediation between the possible worlds (the centre, differentiating margins, transitional formations, crisis points) as well as the social function of creating an atmosphere of expected political correctness in a Europe deprived of totalitarian divisions. The formulations of painting and sculpture are being replaced with the formulations of open information work (video, installation, photography, linguistic-visual inter-text). Open information work represents the erased trace of site-specific culture (of the region, city, street, apartment, human body or geographic macro-space). A work of art is the inscription of layered and selected traces of culture �of� a certain located specific place and situation. The ontology and the morphology of these �contemporary� works is not an autonomous aesthetic form or occurrence, but it is conditioned by the unstable and adaptable:(a) phenomenology of information; (b) structural functionality of the context and (c) the logic of narrationin the conceptual order of the articulation of meaning (attitude, point of view and social value). This is an art made �of� narrative, representative and transferred traces and effects of a concrete culture. In other words: (i) while traditional realistic approach of the nineteenth or the social ones of the twentieth century strove towards a faithful or optimal depiction of the world outside art, (ii) while Avant-garde and Neo-Avant-garde Anti-or-Post-Art �Realisms� (Concrete Art, New Realism, Neo-Dada, Pop Art, Arte Povera) strove towards a literal post-Duchampian transfer of the objects from the world outside art into the extraordinary and critical world of art, (iii) Realism (Soros Realism, Multicultural Realism) at the end of the Nineties emerged as a media presentation of real as well as fictional information and their erased and transferred traces through the relation of image and word in the process of constituting the social ideology of Globalisation, that is to say, the post-conflict Europe. The Ontology of Artwork in the Nineties One of the characteristics of the Nineties is the redefinition of the ontology of artwork according to the idea of the work of art as critical information in the conceptual art of the Sixties and the Seventies. The difference is that �the new work of the Nineties� is being realised according to the massive media infrastructure of late Postmodernism with the expectations of the positive micro-social projection of political correctness (environment, local customs, the logic or repression of everyday life, the rights of the margin in relation to the center, the gender issue, discursive formations of identity). This new art finds itself between the critique and the apology of social reality; in itself, it is an offer to reality as an imaginary and symbolical representation of possible �co-existence� of identities and their differences. But how did this particular ontology of artwork occur? We should start with the models constituted in the Conceptual art of the early and mid-Seventies. Joseph Kosuth, for instance, has explicitly established uncertain assumptions that were a direct attack on the Greenbergian Modernistic autonomy of the artwork as an established form or an expression of individual creative efforts of the artist(1) : (i) according to him, �Function refers to �art context�. Art only exists as a context, that is its nature – has no other qualities. (…) With the functioning of sets within sets, boundaries are temporary and arbitrary and wholly dependent on a sense of �purpose��(2) (ii) furthermore, he promised in several projects the essential relation between the text and the context in the process of manufacturing of the meaning: �Text/Context: It is the intention of this work to further make/show the nature of the activity (�making meaning�) to be a contingent, contextual aspect of cultural processes (with art being a concrete instance)�(3); he eventually (iii) concluded in his famous critique of Eclectic Painterly Postmodernism of the Eighties: �There are no new forms, only new meanings. An artist is engaged in the making of meaning, whether it’s the cancellation of meaning or not�(4) If we separate Kosuth’s ideas on critical Conceptual art from their primary function – and that is the critique of Essentialism, Objectivism and Universalism of the high Greenbergian Modernism – then we obtain a scheme which will gain its necessary institutional character in the actual culture of the Nineties. In other words, institutional media executions of function, context and manufacturing of meaning within culture become the essential aspects of an artwork which is no longer based on the concept and the appearance of the designed, executed or expressed form. The artwork is – and this is an ontological category – a mediatic constellation of information by which the functions of context are being presented in the manufacturing of social meaning of problems of Post-Socialistic, European Civil or Liberal American society. Art becomes a sonde for testing and presenting culture in its social capacities of function, context and manufacturing of public meaning. In the climate of the ‘New World Order’, a subversive yet internally artistic strategy of conceptual art has become relevant, dominant and mainstream: the art of depicting and constituting the social reality.

Grate (gjithmone) rrefehen nga burrat.

Kur burrat rrëfejnë gratë…

Një burrë mbi një grua/ Tetë studentë të Akademisë së Arteve ekspozojnë sot perceptimet e tyre mbi femrat në galerinë “Zenit”

Ç‘di një burrë për një grua? Shkrimtarët kanë mundur t‘i hedhin të gjitha ato çfarë dinë për gratë në libra, një burrë i zakonshëm e thotë me gjuhën e tij gruas që ka pranë se çfarë është ajo për të, ndërsa artistët vizualë vijojnë ta quajnë një eksplorim të pambarimtë botën femërore. Për shekuj me radhë, piktura na ka ofruar momente grash herë të trishta, herë rebele, duke hyrë në format edhe nga më absurdet për t‘i rrëfyer.

Përveç punimeve që vetë gratë artiste kanë bërë për të shpjeguar botët e tyre, burrat artistë vijojnë të lundrojnë në ujërat që do t‘i çonin pikërisht në vendin ku fshihet shpirti i gruas…

Kerkohen kuratore per Marubin dhe Onufrin

Më në fund, “Marubi ‘08”

Gazeta Standart

Galeria Kombëtare e Arteve ka shpallur konkursin për kuratorë për Konkursin Ndërkombëtar të Fotografisë “Marubi ‘08” dhe të Konkursit Ndërkombëtar të Arteve Pamore “Onufri ‘08”, të cilët priten të zhvillohen respektivisht në shtator dhe në dhjetor 2008. Sipas burimeve zyrtare të GKA, të gjithë kuratorët e interesuar duhet të paraqesin konceptin kuratorial dhe dokumentacionin shoqërues, ndërkohë që afati i dorëzimit të dosjeve për Konkursin Ndërkombëtar të Fotografisë “Marubi ‘07” do të jetë më 30 prill, ndërsa për Konkursin Ndërkombëtar të Arteve Pamore “Onufri ‘08”, 31 maj. Dosjet e paraqitura do të shqyrtohen nga Këshilli Organizativ i dy konkurseve përkatëse teksa këshillat e dy konkurseve do të miratohen nga Ministria e Turizmit, Kulturës, Rinisë dhe Sporteve, nën kujdesin e të cilës organizohen. Konkursi Ndërkombëtar i Fotografisë “Marubi ’08” do të zhvillohet në shtator 2008 dhe Konkursi Ndërkombëtar i Arteve Pamore “Onufri ‘08” do të zhvillohet në dhjetor 2008.