{"id":22623,"date":"2026-06-28T15:15:42","date_gmt":"2026-06-28T15:15:42","guid":{"rendered":"https:\/\/shkurteshqip.online\/?p=22623"},"modified":"2026-06-28T15:15:43","modified_gmt":"2026-06-28T15:15:43","slug":"arti-sot-nje-udhetim-ne-mosvazhdimesine-e-te-menduarit-per-imazhet","status":"publish","type":"post","link":"https:\/\/shkurteshqip.online\/?p=22623","title":{"rendered":"ARTI SOT \u2013 NJ\u00cb UDH\u00cbTIM N\u00cb MOSVAZHDIM\u00cbSIN\u00cb E T\u00cb MENDUARIT P\u00cbR IMAZHET"},"content":{"rendered":"\n

Nga Giuliana Donzello<\/strong><\/p>\n\n\n\n

Ku po shkon arti dhe cilat perspektiva po ndjek ai, nuk jan\u00eb pyetje q\u00eb i shtrojn\u00eb vet\u00ebm studiuesit dhe artist\u00ebt. N\u00eb epok\u00ebn e globalizimit, p\u00ebrball\u00eb nj\u00eb fraktureje dhe mosvazhdim\u00ebsie me artin postmodern dhe me vet\u00eb qenien njer\u00ebzore pa ekzistenc\u00ebn e nj\u00eb stili t\u00eb bashkuar unik, arti i sotsh\u00ebm \u00ebsht\u00eb n\u00eb l\u00ebvrimin e tij, nj\u00eb model i fuqish\u00ebm i dekonstruksionit dhe nd\u00ebrtimit t\u00eb gjuh\u00ebve t\u00eb tjera, t\u00eb cilat d\u00ebshmojn\u00eb lindjen e nj\u00eb vet\u00ebdijeje q\u00eb paraqitet si nj\u00eb kontribut ndaj mjesht\u00ebris\u00eb artistike.<\/p>\n\n\n\n

P\u00ebr t\u00eb kuptuar proceset q\u00eb q\u00ebndrojn\u00eb n\u00eb themel t\u00eb vepr\u00ebs, hapi i par\u00eb \u00ebsht\u00eb t\u00eb kujtojm\u00eb se fusha e artit, pra \u201ct\u00eb menduarit p\u00ebr imazhet\u201d, \u00ebsht\u00eb nj\u00eb p\u00ebrkufizim q\u00eb i p\u00ebrgjigjet nj\u00eb shum\u00ebllojshm\u00ebrie mahnit\u00ebse formash dhe shprehjesh, t\u00eb afta t\u00eb manifestohen n\u00eb m\u00ebnyra t\u00eb ndryshme. Imazhe q\u00eb nuk jan\u00eb thjesht regjistrime t\u00eb perceptuara nga syri, por procese emocionesh dhe p\u00ebrzgjedhjesh t\u00eb inteligjenc\u00ebs, fryt i aft\u00ebsis\u00eb son\u00eb imagjinuese, shpikje ose shnd\u00ebrrim i nj\u00eb impulsi apo koncepti.<\/p>\n\n\n\n

Nj\u00eb udh\u00ebtim n\u00ebp\u00ebr hap\u00ebsirat e m\u00ebdha ekspozuese dhe veprat e artist\u00ebve q\u00eb kan\u00eb zgjedhur ta nd\u00ebrthurin profesionin e tyre me k\u00ebrkesat e sistemit t\u00eb artit, mund t\u00eb ofroj\u00eb nj\u00eb spekt\u00ebr mjaft t\u00eb qart\u00eb t\u00eb realitetit artistik t\u00eb dit\u00ebve tona.<\/p>\n\n\n\n

Kostantja e nj\u00eb rr\u00ebfimi p\u00ebrmes imazheve, e cila n\u00eb t\u00eb kaluar\u00ebn ka lidhur identitetin pamor t\u00eb nj\u00eb panairi si MIART me bot\u00ebn e falkoneris\u00eb, t\u00eb gjuetis\u00eb dhe t\u00eb bletaris\u00eb, projektohet tani drejt figur\u00ebs njer\u00ebzore: nj\u00eb humaniz\u00ebm i ri, ku s\u00eb shpejti do t\u00eb vihet n\u00eb pah paralelizmi midis gjestit atletik dhe atij artistik, t\u00eb dy fryte t\u00eb nj\u00eb talenti q\u00eb krijon n\u00eb nj\u00eb moment \u201ct\u00eb jasht\u00ebzakonsh\u00ebm\u201d: ambicien drejt p\u00ebrsosm\u00ebris\u00eb. Kjo u shfaq n\u00eb m\u00ebnyr\u00eb t\u00eb shk\u00eblqyer p\u00ebrmes imazheve spektakolare t\u00eb shfaqjes n\u00eb videoin gjigante t\u00eb David Michalek dhe balerin\u00ebve-koreograf\u00eb t\u00eb tij, q\u00eb vall\u00ebzonin mbi muret e muzeut, me t\u00eb cilin u hap sezoni i LAC (Lugano – Art – Kultur\u00eb, n\u00eb Lugano t\u00eb Italis\u00eb), disa vite m\u00eb par\u00eb.<\/p>\n\n\n\n

T\u00eb kap\u00ebrthesh v\u00ebmendjen, t\u00eb mahnis\u00ebsh, t\u00eb \u00e7orientosh: t\u00eb gjitha k\u00ebto jan\u00eb veprime q\u00eb duken t\u00eb p\u00ebrbashk\u00ebta p\u00ebr synimet e artit bashk\u00ebkohor, n\u00ebse atij i njihet ende nj\u00eb drejtim i caktuar mendimi. Nj\u00eb m\u00ebnyr\u00eb e re, p\u00ebr t\u00eb cil\u00ebn, (t\u00eb pakt\u00ebn p\u00ebr momentin, (nuk jan\u00eb ende t\u00eb qarta dhe t\u00eb p\u00ebrcaktuara mjetet dhe parimet q\u00eb synon t\u00eb d\u00ebshmoj\u00eb. Mbetet t\u00eb pyesim n\u00ebse arti i penelit, i pigmenteve t\u00eb pastra si dhe vet\u00eb di-zajni (shenja di, n \u00ebitalisht: di-segno), palest\u00ebr gjithmon\u00eb e padiskutueshme p\u00ebr p\u00ebrvet\u00ebsimin e dijes dhe formimin e sa e sa brezave artistash, \u00ebsht\u00eb b\u00ebr\u00eb tashm\u00eb i vjet\u00ebruar dhe si i till\u00eb, duhet arkivuar n\u00eb magazinat e kujtes\u00ebs historike. Besoj se jo!<\/p>\n\n\n\n

Padyshim, \u00ebsht\u00eb e pamohueshme se institucionet e m\u00ebdha mir\u00ebpresin me entuziaz\u00ebm, pothuajse n\u00eb m\u00ebnyr\u00eb ekskluzive, projekte anikonike dhe multimediale, duke treguar nj\u00eb prirje p\u00ebr t\u00eb gjall\u00ebruar hap\u00ebsirat me instalime t\u00eb p\u00ebrkohshme ose t\u00eb p\u00ebrhershme.<\/p>\n\n\n\n

Me k\u00ebt\u00eb frym\u00eb u paraqit\u00ebn n\u00eb k\u00ebt\u00eb takim veprat e koleksionit m\u00eb t\u00eb madh publik t\u00eb artit bashk\u00ebkohor nordik, ai i Malm\u00f6 Konstmuseum: nj\u00ebzet vjet krijimtari n\u00eb fush\u00ebn e videos artistike nordike; si dhe Yona Friedman dhe Jean Baptiste Decav\u00e8le, ideator\u00eb t\u00eb projektit “Montagne de Venise”, vep\u00ebr s\u00eb cil\u00ebs i atribuohet nj\u00eb r\u00ebnd\u00ebsi e ve\u00e7ant\u00eb shoq\u00ebrore-kulturore dhe aft\u00ebsia p\u00ebr t\u00eb nxitur pjes\u00ebmarrjen e qytetar\u00ebve dhe t\u00eb institucioneve m\u00eb t\u00eb r\u00ebnd\u00ebsishme lokale,
duke filluar nga promovuesja Zerynthia, n\u00eb bashk\u00ebpunim me Shoqat\u00ebn Querini Stampalia, koleksionist\u00ebve dhe muzeumeve publike e private, protagonist\u00eb t\u00eb jet\u00ebs kulturore n\u00eb Venecia.<\/p>\n\n\n\n

Pa i mohuar asgj\u00eb Yona Friedmanit, vep\u00ebr jasht\u00ebzakonisht e lavd\u00ebruar, nuk duhet t’u kujtonte institucioneve historike t\u00eb qytetit se vozitja mbi urat lundruese t\u00eb nj\u00eb mali shtat\u00eb metra me rrath\u00eb prej fu\u00e7ish g\u00ebshtenjeje grumbulluar mes tyre, nuk mund t\u00eb pretendonte nj\u00eb vend t\u00eb par\u00eb?
Para Friedmanit, Maurice B\u00e9jart kishte sjell\u00eb koreografin\u00eb e tij t\u00eb Boleros s\u00eb Maurice Ravel n\u00eb Kanalin e Madh dhe n\u00eb pellgun e Sh\u00ebn Markut, deri n\u00eb sheshin historik, t\u00eb ngjyrosur \u201cnatyrsh\u00ebm\u201d nga e gjelbra e kupolave t\u00eb Bazilik\u00ebs s\u00eb Sh\u00ebn Markut dhe t\u00eb Kish\u00ebs s\u00eb Redentorit. Nd\u00ebrsa n\u00eb vitin 1807, p\u00ebr t\u00eb festuar ardhjen e Napoleone Bonaparte n\u00eb Lagun\u00eb, autoritetet e qytetit ngrit\u00ebn mbi varka nj\u00eb \u201cHark Triumfi\u201d dhe sfilat\u00ebn e barkave lundruese p\u00ebrgjat\u00eb t\u00eb nj\u00ebjtit itinerar, simbol i gjall\u00ebris\u00eb s\u00eb madhe veneciane.<\/p>\n\n\n\n

A mundej nj\u00eb instalim si “La Montagne” t\u00eb plot\u00ebsonte at\u00eb q\u00eb sipas adhuruesve t\u00eb saj i mungonte stilit arkitekturor t\u00eb Venecias, duke harruar krejt\u00ebsisht ekuilibrat vetiake t\u00eb brisht\u00eb?<\/p>\n\n\n\n

Nj\u00eb shkat\u00ebrrim i ngjash\u00ebm u p\u00ebrs\u00ebrit edhe n\u00eb Firence, e cila pranoi t\u00eb ekspozonte gomonet e Ai Weiwei n\u00eb dritaret dyshe t\u00eb Pallatit Strozzi. Nj\u00eb gjest denoncimi dhe proteste, por q\u00eb, sipas mendimit tim, kishte shum\u00eb pak lidhje me nj\u00eb akt drejt\u00ebsie ndaj artistit kinez t\u00eb p\u00ebrndjekur, dhe akoma m\u00eb pak me refugjat\u00ebt e shumt\u00eb q\u00eb kan\u00eb “gjetur” varrin e tyre n\u00eb Mesdhe.
N\u00ebse m\u00eb pas merren n\u00eb konsiderat\u00eb instalimet gjigante, agresive dhe shpesh trondit\u00ebse t\u00eb Bienaleve nd\u00ebrkomb\u00ebtare, t\u00eb MAXXI dhe t\u00eb muzeumeve t\u00eb tjera, koncepti q\u00eb q\u00ebndron n\u00eb themel t\u00eb k\u00ebtyre projekteve dhe realizimeve t\u00eb tilla t\u00eb \u00e7on m\u00eb tep\u00ebr drejt mendimit se po asistojm\u00eb n\u00eb nj\u00eb rikthim t\u00eb artit monumental, por nj\u00ebherazi t\u00eb brisht\u00eb, t\u00eb ngritur mbi themele argjileje, ku synimi p\u00ebr provokim ose denoncim shp\u00ebrthen n\u00eb form\u00ebn e spektaklit.<\/p>\n\n\n\n

Nd\u00ebrsa, kontrasti dhe harmonia duket se karakterizojn\u00eb zgjedhjet e MACRO, i cili, krahas instalimeve t\u00eb ashtuquajtura \u201cnormale\u201d, duket se d\u00ebshiron t\u00eb konsideroj\u00eb si \u201cnormale\u201d edhe gjuh\u00ebt artistike t\u00eb cilat zakonisht cil\u00ebsohen si alternative, ashtu sikurse edhe ato t\u00eb historizuara. Kjo u pa, p\u00ebr shembull, n\u00eb nj\u00eb ekspozit\u00ebn e Yahon Chang, ku veprat monumentale mbi telajo dhe let\u00ebr orizi bashk\u00ebjetonin me p\u00ebrzierje boje kineze dhe akriliku, t\u00eb realizuara me penela tradicional\u00eb kinez\u00eb t\u00eb madh\u00ebsive t\u00eb ndryshme.<\/p>\n\n\n\n

Harmonia (po thoja), e lidhur me nj\u00eb shpirt\u00ebrim t\u00eb thell\u00eb, shprehet p\u00ebrmes ngjyrave dhe dinamik\u00ebs s\u00eb penelatave. Por, n\u00eb shum\u00eb raste, eksplorimi konceptual i instalimeve shkon p\u00ebrtej nevojave t\u00eb vet\u00eb institucionit dhe akoma m\u00eb shum\u00eb, p\u00ebrtej respektit ndaj vendeve ku vendosen, edhe kur ato pasqyrojn\u00eb prestigjin q\u00eb rrjedh nga ftesa drejtuar artist\u00ebve me fam\u00eb, jo domosdoshm\u00ebrisht artist\u00ebve \u201ct\u00eb m\u00ebdhenj\u201d.<\/p>\n\n\n\n

P\u00ebr Chang-un dhe p\u00ebr nj\u00eb num\u00ebr t\u00eb konsideruesh\u00ebm artist\u00ebsh italian\u00eb, \u00ebsht\u00eb b\u00ebr\u00eb jetik nj\u00eb interes i ri p\u00ebr shenj\u00ebn. Funksionet q\u00eb ajo merr sot brenda vepr\u00ebs paraqesin nj\u00eb kaligrafi me frym\u00ebzim oriental, ndon\u00ebse t\u00eb p\u00ebrshtatur sipas sensibilitetit per\u00ebndimor. P\u00ebr disa artist\u00eb, b\u00ebhet fjal\u00eb p\u00ebr nj\u00eb studim t\u00eb ve\u00e7ant\u00eb t\u00eb shenjave jo t\u00eb shpikura, por t\u00eb transferuara p\u00ebrmes teknik\u00ebs s\u00eb kall\u00ebpit. Nj\u00eb metod\u00eb q\u00eb mund t\u00eb lexohet si arkaike, n\u00ebse synon thjesht krijimin e nj\u00eb kloni p\u00ebr ta v\u00ebn\u00eb m\u00eb pas p\u00ebrball\u00eb modelit origjinal; t\u00eb dy shpesh t\u00eb vendosur n\u00eb skenografi shqet\u00ebsuese, si\u00e7 ndodh n\u00eb skulpturat e Vanessa Beecroft.<\/p>\n\n\n\n

N\u00eb nj\u00eb plan tjet\u00ebr, rikthimi i kall\u00ebpit, i kuptuar si zgjerim i m\u00ebsimeve t\u00eb frottage-f\u00ebrkimit t\u00eb Max Ernst, si dhe braktisja e paraqitjes figurative si metafor\u00eb, e shtyjn\u00eb artin t\u00eb k\u00ebrkoj\u00eb rrug\u00eb t\u00eb reja kuptimi q\u00eb mb\u00ebshteten mbi nj\u00eb mjesht\u00ebri t\u00eb lart\u00eb t\u00eb t\u00eb b\u00ebrit. Kjo mjesht\u00ebri p\u00ebrb\u00ebn trash\u00ebgimin\u00eb e nj\u00eb brezi t\u00eb t\u00ebr\u00eb artist\u00ebsh italian\u00eb aktiv\u00eb gjat\u00eb viteve ’80 dhe ’90, nj\u00eb brez q\u00eb, padrejt\u00ebsisht, \u00ebsht\u00eb l\u00ebn\u00eb n\u00eb harres\u00eb.<\/p>\n\n\n\n

Duke vazhduar t\u2019i japim form\u00eb larmis\u00eb s\u00eb stileve, p\u00ebr t\u00eb cil\u00ebn kam folur m\u00eb sip\u00ebr, nj\u00eb gjuh\u00eb artistike q\u00eb nuk ka hasur v\u00ebshtir\u00ebsi t\u00eb ve\u00e7anta p\u00ebr t\u00eb gjetur hap\u00ebsir\u00ebn e saj t\u00eb afirmimit dhe q\u00eb pothuajse ka \u201cmagjepsur\u201d artist\u00ebt e rinj t\u00eb p\u00ebrfshir\u00eb n\u00eb sistemet e komunikimit, duke krijuar ndjek\u00ebs t\u00eb shumt\u00eb, \u00ebsht\u00eb ajo e NEX ART (arti underground). Me k\u00ebt\u00eb term identifikohen praktikat artistike q\u00eb p\u00ebrdorin rrjetin si mjet t\u00eb vet\u00ebm t\u00eb krijimit dhe t\u00eb shp\u00ebrndarjes, por edhe si nj\u00eb proces q\u00eb p\u00ebr nga natyra e tij e p\u00ebrkohshme, i afrohet Artit Konceptual dhe Artit t\u00eb Performanc\u00ebs.<\/p>\n\n\n\n

Pran\u00eb tij, evolucioni i teknologjis\u00eb digjitale po zgjeron gjithnj\u00eb e m\u00eb shum\u00eb mund\u00ebsit\u00eb q\u00eb artist\u00ebt dhe dizajner\u00ebt t\u00eb krijojn\u00eb mjedise nd\u00ebrvepruese me p\u00ebrmbajtje krijuese, programe p\u00ebr grafik\u00ebn gjeneruese, algoritme animacioni dhe teknologji q\u00eb b\u00ebjn\u00eb t\u00eb mundur krijimin e bot\u00ebve t\u00eb banuara nga identitete fiktive, t\u00eb cilat jetojn\u00eb nj\u00eb jet\u00eb t\u00eb pavarur ose nd\u00ebrveprojn\u00eb me p\u00ebrdorues real\u00eb.<\/p>\n\n\n\n

P\u00ebrkrah ritmit pulsues t\u00eb jet\u00ebs s\u00eb p\u00ebrditshme, n\u00eb nj\u00eb nd\u00ebrthurje informacioni t\u00eb holl\u00ebsish\u00ebm hap\u00ebsinor dhe kohor, Software Art sjell n\u00eb plan t\u00eb par\u00eb kodin e programimit: p\u00ebrshkrimi i shkruar i vepr\u00ebs, pra vet\u00eb procesi i krijimit, b\u00ebhet vepra artistike. P\u00ebr autorin, rezultati p\u00ebrfundimtar \u00ebsht\u00eb vet\u00ebm pjes\u00ebrisht i parashikuesh\u00ebm; k\u00ebrkimi i efektit b\u00ebhet q\u00ebllim m\u00eb vete. Megjithat\u00eb, ekziston gjithmon\u00eb nj\u00eb element i rast\u00ebsish\u00ebm, vazhdimisht i ndrysh\u00ebm, (t\u00eb ashtuquajturat improvizime t\u00eb softwarit) t\u00eb cilat mund t\u00eb shoq\u00ebrohen me kompozime t\u00eb pasura vizuale dhe ting\u00ebllore, duke ndryshuar nj\u00ebkoh\u00ebsisht p\u00ebrmes nd\u00ebrveprimit t\u00eb p\u00ebrdoruesve.<\/p>\n\n\n\n

Brenda k\u00ebtij skenari, si mund t\u00eb gjejn\u00eb vend dhe z\u00eb, t\u00eb shp\u00ebtuara nga degradimi i harres\u00ebs, objektet q\u00eb nxirren n\u00eb drit\u00eb p\u00ebr t\u00eb treguar histori, p\u00ebr t\u00eb emocionuar dhe mbi t\u00eb gjitha, p\u00ebr t\u00eb denoncuar, duke e paraqitur artin si nj\u00eb kategori t\u00eb re t\u00eb s\u00eb bukur\u00ebs? Po grafit\u00ebt? Po Street Art?<\/p>\n\n\n\n

E gjith\u00eb bota per\u00ebndimore \u00ebsht\u00eb nj\u00eb eksperiment i madh metafizik; brenda saj, \u201ce reja\u201d dhe \u201crisia\u201d jan\u00eb kontradikta t\u00eb nj\u00eb m\u00ebnyre veprimi q\u00eb synon t\u00eb siguroj\u00eb konsensus kritik.<\/p>\n\n\n\n

N\u00eb shum\u00eb fusha, koncepti i \u201cs\u00eb Bukur\u00ebs\u201d \u00ebsht\u00eb b\u00ebr\u00eb nj\u00eb term i tejkaluar, nd\u00ebrsa bukuria \u00ebsht\u00eb reduktuar n\u00eb sinonim t\u00eb shk\u00ebmbimit tregtar.
N\u00eb shkall\u00eb t\u00eb gjer\u00eb, vler\u00ebsimet e tregut jan\u00eb shnd\u00ebrruar n\u00eb alternativ\u00eb ndaj t\u00ebrheqjes s\u00eb kritik\u00ebs nga roli i saj themelor: ai i gjykimit t\u00eb vepr\u00ebs s\u00eb artit, jo sipas vler\u00ebs s\u00eb saj t\u00eb shk\u00ebmbimit.
Le t\u00eb pranohet pra, veprimi p\u00ebrmes imazheve si metod\u00eb p\u00ebr artistin p\u00ebr t\u00eb par\u00eb dhe kuptuar bot\u00ebn, teksa imazhi mbetet dritarja e shpirtit t\u00eb tij, nj\u00eb instrument p\u00ebr t\u00eb hetuar dhe zgjeruar shikimin e brendsh\u00ebm. Kush kultivon armiq\u00ebsi ndaj kritik\u00ebs dhe p\u00ebrqafon ideologjin\u00eb e neutralitetit t\u00eb pap\u00ebrgjegjsh\u00ebm, (duke prodhuar nj\u00eb kritik dhe nj\u00eb spektator jo kritik e pajtues), zgjedh t\u00eb p\u00ebrfaq\u00ebsoj\u00eb nj\u00eb bot\u00eb spektakolare dhe artificiale t\u00eb krijuar nga teknika vetiake, duke harruar se dimensioni i v\u00ebrtet\u00eb i artit \u00ebsht\u00eb \u201cmbret\u00ebria e nd\u00ebrveprimeve njer\u00ebzore\u201d, ku vepra lind si rezultat i nj\u00eb mendimi kolektiv.<\/p>\n\n\n\n

Kthesa e artit lind nga hyrja n\u00eb sken\u00eb e aktor\u00ebve t\u00eb rinj dhe e zhvillimeve t\u00eb reja historike, politike e shoq\u00ebrore. Vet\u00ebm nj\u00eb tension drejt s\u00eb v\u00ebrtet\u00ebs e th\u00ebrret artistin t\u00eb kund\u00ebrv\u00ebr\u00eb imazhin e tij t\u00eb bot\u00ebs ndaj nj\u00eb bote tashm\u00eb t\u00eb shnd\u00ebrruar n\u00eb imazh; kushtet e prodhimit dhe dinamikat e tij, e paraqesin at\u00eb si \u201cnj\u00eb grumbullim t\u00eb pafund spektaklesh\u201d.<\/p>\n\n\n\n

Ripozicionimi i artit bashk\u00ebkohor n\u00eb rebelimin e tij t\u00eb mundsh\u00ebm ndaj kultur\u00ebs postmoderne, mund t\u00eb realizohet vet\u00ebm duke kund\u00ebrv\u00ebn\u00eb imazhe ndaj nj\u00eb bote t\u00eb reduktuar n\u00eb imazh, nj\u00eb bot\u00eb q\u00eb i bindet mbiaktivizimit p\u00ebr t\u00eb \u201cimagjinuar pavar\u00ebsisht gjith\u00e7kaje\u201d.<\/p>\n\n\n\n

Pavet\u00ebdija kolektive k\u00ebrkon nga artisti t\u00eb na tregoj\u00eb se \u00e7far\u00eb \u00ebsht\u00eb realiteti, m\u00eb shum\u00eb sesa t\u00eb na rr\u00ebfej\u00eb bot\u00eb t\u00eb tjera, imagjinare, utopike, fantastike apo metafizike.<\/p>\n\n\n\n

Arti i sot\u00ebm \u00ebsht\u00eb imazhi i p\u00ebr\u00e7arjes s\u00eb njeriut q\u00eb jeton n\u00eb koh\u00ebn e shkat\u00ebrrimit, si atij t\u00eb real, po ashtu edhe atij t\u00eb v\u00ebrtet\u00eb; \u00ebsht\u00eb nevoja p\u00ebr t\u2019iu drejtuar imazhit p\u00ebr t\u00eb dokumentuar at\u00eb q\u00eb imazhi-spektak\u00ebl p\u00ebrpiqet t\u00eb fsheh\u00eb.<\/p>\n\n\n\n

Ndaj, le t\u2019i rikthehemi kritik\u00ebs dhe \u00e7do prodhimi artistik, n\u00eb m\u00ebnyr\u00eb q\u00eb t\u00eb d\u00ebshmoj\u00eb kap\u00ebrcimin e domosdosh\u00ebm dhe p\u00ebrfundimtar t\u00eb mendimit t\u00eb dob\u00ebt.<\/p>\n\n\n\n

(P\u00ebrktheu: Angela Kosta)<\/p>\n","protected":false},"excerpt":{"rendered":"

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