{"id":37981,"date":"2023-02-21T09:56:17","date_gmt":"2023-02-21T09:56:17","guid":{"rendered":"https:\/\/rdnews.al\/?p=37981"},"modified":"2023-02-21T09:56:17","modified_gmt":"2023-02-21T09:56:17","slug":"e-lashta-sot","status":"publish","type":"post","link":"https:\/\/foltore.al\/index.php\/2023\/02\/21\/e-lashta-sot\/","title":{"rendered":"E lashta, sot"},"content":{"rendered":"

Riciklimi i bukuris\u00eb<\/strong><\/p>\n

Fondacioni Prada inauguron n\u00eb Milano aktin e tret\u00eb t\u00eb refleksionit mbi klasicitetin dhe bashk\u00ebkohoren. Flasin kuratori Salvatore Settis dhe Rem Koolhaas, q\u00eb ka firmosur projektet ekspozuese.<\/p>\n

Recycling Beauty<\/em>, ekspozita q\u00eb hapet t\u00eb enjten 17 n\u00ebntor n\u00eb Fondacionin Prada t\u00eb Milano, nuk \u00ebsht\u00eb vet\u00ebm akti i tret\u00eb i nj\u00eb rikonjicioni q\u00eb ka prodhuar tashm\u00eb n\u00eb 2015 Serial Classic<\/em>, gjithmon\u00eb n\u00eb Milano dhe gjithmon\u00eb n\u00eb hap\u00ebsirat e Fondacionit Prada, dhe Portable Classic<\/em>, n\u00eb Venezia, n\u00eb Ca\u2019 Corner della Regina. Duke u nisur akoma nga aktualizimi i raportit midis s\u00eb lasht\u00ebs dhe bashk\u00ebkohores, duke synuar k\u00ebsaj radhe mbi tem\u00ebn e rip\u00ebrdorimit t\u00eb lasht\u00ebsive greke dhe romake n\u00eb kontekste pas t\u00eb lashta, nga Mesjeta tek barokja, \u00ebsht\u00eb nj\u00eb ftes\u00eb p\u00ebr t\u00eb marr\u00eb n\u00eb konsiderat\u00eb sesa t\u00eb lasht\u00eb mund t\u00eb ket\u00eb v\u00ebrtet tek bashk\u00ebkohorja dhe sa bashk\u00ebkohore mund t\u00eb jet\u00eb v\u00ebrtet\u00eb e lasht\u00eb. Pik\u00ebrisht si\u00e7 ka b\u00ebr\u00eb Metropolitan Museum i New York duke ia besuar Hew Locke edicionin 2022 e Facade Commission <\/em>dhe duke siguruar nga artisti britanik nj\u00eb riinterpretim t\u00eb trofeve t\u00eb lashta greke dhe romake t\u00eb koleksionit. \u00abLa Lettura\u00bb i ka k\u00ebrkuar Salvatore Settis, kuratore me Anna Anguissola e Denise La Monica i Reciclyng Beauty <\/em>(si i dy ekspozimeve t\u00eb m\u00ebparshme t\u00eb Fondacionit Prada), dhe Rem Koolhaas, q\u00eb nga ana e tij ka firmosur t\u00eb tri projektet, t\u00eb konfrontoheshin pik\u00ebrisht mbi frontin antibashk\u00ebbashk\u00ebkohor n\u00eb nj\u00eb dialog q\u00eb evidenton nj\u00eb diversitet qasjeje t\u00eb argumentit (nga nj\u00ebra an\u00eb pasuria e referimeve dhe e argumentimeve t\u00eb profesorit Settis, nga ana tjet\u00ebr esencialiteti shum\u00eb nordik i arkitektit fitimtar t\u00eb \u00c7mimit Pritzker n\u00eb 2000) por edhe nj\u00eb v\u00ebmendjeje t\u00eb p\u00ebrbashk\u00ebt ndaj s\u00eb lasht\u00ebs (m\u00eb shkencore <\/em>ajo e Settis, m\u00eb morale <\/em>ajo e Koolhaas).<\/p>\n

Sipas jush ka kuptim sot t\u00eb flitet p\u00ebr lasht\u00ebsi?<\/strong><\/p>\n

Salvatore Settis \u2014 Patjet\u00ebr. P\u00ebr t\u00eb ndjer\u00eb pranin\u00eb e lasht\u00ebsis\u00eb, kush jeton n\u00eb Itali nuk ka as nevoj\u00eb t\u00eb shkoj\u00eb n\u00ebp\u00ebr muzeume; boll t\u00eb sh\u00ebtis\u00eb n\u00eb qytetet tona historike. Dy shembuj: katedralja e Siracusa, n\u00eb nj\u00eb shesh n\u00eb qend\u00ebr t\u00eb qytetit historik, ka lindur n\u00eb shekullin e V p\u00ebrpara Krishtit, pak p\u00ebrpara Partenone, si nj\u00eb tempull p\u00ebr Athin\u00ebn. M\u00eb pas u b\u00eb kish\u00eb kristiane, pastaj xhami, pastaj s\u00ebrish kish\u00eb dhe tani \u00ebsht\u00eb selia e arqipeshk\u00ebvit t\u00eb Siracusa. Por kolonat dorike t\u00eb tempullit grek, n\u00eb k\u00ebmb\u00eb prej 2500 vjet\u00ebsh, jan\u00eb ende t\u00eb dukshme nga jasht\u00eb dhe nga brenda. Nj\u00eb shembull tjet\u00ebr: Pantheon n\u00eb Roma, tempull romak i shekullit t\u00eb II, i transformuar n\u00eb kish\u00eb n\u00eb vitin 609 dhe qysh at\u00ebhere gjithmon\u00eb n\u00eb funksion si e till\u00eb. N\u00eb katalogun e ekspozit\u00ebs ka nj\u00eb lib\u00ebr fotografik t\u00eb Alessandro Poggio, nj\u00eb arkeolog q\u00eb \u00ebsht\u00eb edhe nj\u00eb fotograf i shk\u00eblqyer: 65 foto nga Piemonte n\u00eb Si\u00e7ili q\u00eb tregojn\u00eb bashk\u00ebjetes\u00ebn ton\u00eb t\u00eb vazhdueshme me lasht\u00ebsin\u00eb. Por \u00ebsht\u00eb nj\u00eb bashk\u00ebjetes\u00eb problematike, edhe pse k\u00ebt\u00eb prani monu, mentesh t\u00eb \u00eblashta ende n\u00eb p\u00ebrdorim shpesh nuk e durojm\u00eb, por sidomos sepse lasht\u00ebsit\u00eb tona jan\u00eb thuajse vet\u00ebm greke, etruske dhe romake: nj\u00eb perimet\u00ebr historik me r\u00ebnd\u00ebsi par\u00ebsore, por q\u00eb nuk mjafton m\u00eb n\u00eb horizontin global n\u00eb t\u00eb cilin jetojm\u00eb.<\/p>\n

Rem Koolhas \u2014 P\u00ebr mua nuk \u00ebsht\u00eb edhe aq nj\u00eb \u00e7\u00ebshtje si t\u00eb rip\u00ebrdoret lasht\u00ebsia n\u00eb art apo n\u00eb arkitektur\u00eb. P\u00ebr mua, aktualiteti i s\u00eb lasht\u00ebs nuk \u00ebsht\u00eb di\u00e7ka fizike, q\u00ebndron n\u00eb universalitetin e \u00abvlerave morale\u00bb q\u00eb mund t\u00eb transmetosh.<\/p>\n

Dhe \u00e7far\u00eb \u00abvlere morale\u00bb mund t\u00eb ket\u00eb sot kjo lasht\u00ebsi me t\u00eb cil\u00ebn jemi rrethuar?<\/strong><\/p>\n

Rem Koolhas \u2014 Paras\u00ebgjithash, vlera e nj\u00eb qart\u00ebsie lind nga esencialiteti. Me p\u00ebrsosm\u00ebrin\u00eb e estetik\u00ebs, por edhe historin\u00eb mij\u00ebvje\u00e7are t\u00eb saj, lasht\u00ebsia na detyron t\u00eb mos ndalemi tek e tashmja, na shtyn q\u00eb t\u00eb konfrontohemi me \u00e7\u00ebshtje universale, t\u00eb sqarojm\u00eb, p\u00ebrve\u00e7 konfuzionit aktual, mbi kuptimin e vet\u00eb ekzistenc\u00ebs ton\u00eb, mbi jet\u00ebn si edhe mbi vdekjen ton\u00eb.<\/p>\n

Salvatore Settis \u2014 Njohja e historis\u00eb \u00ebsht\u00eb antidoti i vet\u00ebm ndaj nj\u00eb murtaje t\u00eb koh\u00ebs ton\u00eb, p\u00ebrq\u00ebndrimi obsesiv mbi t\u00eb tashmen, ajo q\u00eb do ta quaja taniz\u00ebm<\/em>. Kompleksiteti i bot\u00ebs s\u00eb sotme, ritmi shum\u00eb i shpejt\u00eb i ngjarjeve dhe i informacionit shpjegojn\u00eb sesi vall\u00eb sot mendohet kaq shum\u00eb p\u00ebr t\u00eb tashmen dhe vet\u00ebm p\u00ebr t\u00eb tashmen, edhe me koston e orientimit n\u00eb nj\u00eb pyll shpesh armiq\u00ebsor. Ama k\u00ebshtu rrezikojm\u00eb t\u00eb humbasim vet\u00ebdijen se jeta jon\u00eb individuale dhe kolektive na shtyn vazhdimisht, edhe pa e dashur dhe pa e ditur, ddrejt nj\u00eb pasurie mij\u00ebvje\u00e7are p\u00ebrvojash, dhimbjesh, arritjesh. Gjuha q\u00eb flasim, italishtja, \u00ebsht\u00eb nj\u00eb form\u00eb e modifikuar e latinishtes dhe p\u00ebr at\u00eb q\u00eb e di spesori i fjal\u00ebve pasurohet shum\u00eb. Dhe n\u00ebqoft\u00ebse nuk e dim\u00eb latinishten, mjafton t\u00eb kujtojm\u00eb p\u00ebr k\u00ebt\u00eb origjin\u00eb t\u00eb gjuh\u00ebs ton\u00eb p\u00ebr t\u00eb kuptuar sesi ka mund\u00ebsi shpesh kuptohet leht\u00ebsisht kush flet fr\u00ebngjisht, spanjisht, portugalisht, rumanisht. Zbulimi i ngjashm\u00ebrive dhe i diferencave me k\u00ebto gjuh\u00eb \u00ebsht\u00eb nj\u00eb loj\u00eb shum\u00eb serioze: do t\u00eb thot\u00eb t\u00eb eksplorosh af\u00ebrsi dhe diversitete me kultura q\u00eb jan\u00eb nj\u00ebkoh\u00ebsisht t\u00eb lidhura me ton\u00ebn dhe e ndryshme nga e jona. Historia nuk \u00ebsht\u00eb ajo q\u00eb vdes dhe nuk kthehet. \u00cbsht\u00eb ajo q\u00eb ka qen\u00eb dhe nga kjo di\u00e7ka jeton akoma. T\u00eb njoh\u00ebsh t\u00eb kaluar\u00ebn n\u00ebnkupton edhe t\u00eb kuptosh aspekte thelb\u00ebsore t\u00eb s\u00eb tashmes, t\u00eb ars\u00ebyetosh jo mbi identitetin ton\u00eb, por mbi diversitetin midis \u00abneve\u00bb t\u00eb sot\u00ebm dhe \u00abneve\u00bb t\u00eb 100, 150, 2000 viteve m\u00eb par\u00eb. Lasht\u00ebsit\u00eb e prekshme mish\u00ebrojn\u00eb m\u00eb mir\u00eb gjimnastik\u00ebn mendore midis t\u00eb sotmes q\u00eb jetojm\u00eb dhe nj\u00eb djeshmeje q\u00eb jeton akoma.<\/p>\n

Si e lexoni at\u00ebhere lasht\u00ebsin\u00eb: si referim ndaj historis\u00eb ton\u00eb? Si m\u00ebsim p\u00ebr t\u00eb ardhmen ton\u00eb apo \u00e7far\u00eb tjet\u00ebr?<\/strong><\/p>\n

Salvatore Settis \u2014 P\u00ebr nj\u00eb koh\u00eb t\u00eb gjat\u00eb lasht\u00ebsia klasike, greke dhe romake, \u00ebsht\u00eb konsideruar pasuri e elitave europiane, thuajse nj\u00eb gjuh\u00eb e p\u00ebrbashk\u00ebt e cila kuptohej mir\u00eb midis gjerman\u00ebve dhe italian\u00ebve, midis anglez\u00ebve dhe rus\u00ebve. Vet\u00eb ky konceptim i kultur\u00ebs klasike kishte n\u00eb vet\u00ebvete edhe filizin e shp\u00ebrb\u00ebrjes s\u00eb saj: lidhej me iden\u00eb e nj\u00eb superioriteti t\u00eb kultur\u00ebs europiane, nj\u00eb paragjykim t\u00eb rr\u00ebezuar nga kultura paskoloniale. N\u00eb ekspozit\u00eb do t\u00eb shikojm\u00eb t\u00eb jasht\u00ebzakonshmen Tazza Farnese<\/em>, nj\u00eb kup\u00eb n\u00eb shk\u00ebmb t\u00eb ashp\u00ebr q\u00eb i ka p\u00ebrkitur perandor\u00ebve romake dhe bizantin\u00eb, por edhe Federikut t\u00eb II dhe Lorenzo il Magnifico, por kemi ekspozuar n\u00eb krah nj\u00eb piktur\u00eb persiane t\u00eb 1430 q\u00eb e riprodhon besnik\u00ebrisht: t\u00eb dish se midis nj\u00eb koleksionisti italian dhe tjetrit ajo qe edhe nj\u00eb n\u00eb oborr princor t\u00eb kulturs\u00eb persiane na fton ta zgjerojm\u00eb shikimin.<\/p>\n

Rem Koolhas \u2014 P\u00ebr mua, e p\u00ebrs\u00ebris, lasht\u00ebsi do t\u00eb thot\u00eb paras\u00ebgjithash esencialitet, nj\u00eb esencialitet q\u00eb mund ta parakaloj\u00eb paragjykime dhe parakoncepte. Nj\u00eb m\u00ebnyr\u00eb p\u00ebr t\u00eb rekuperuar, p\u00ebrve\u00e7 vlerave universale, edhe nj\u00eb racionalitet t\u00eb caktuar.<\/p>\n

Por lasht\u00ebsia shpesh \u00ebsht\u00eb p\u00ebrdorur politikisht p\u00ebr t\u00eb imponuar nj\u00eb rikthim n\u00eb rend, n\u00eb t\u00eb kaluar\u00ebn: a mund t\u00eb jet\u00eb ky nj\u00eb prej rreziqeve e nj\u00eb rikthimi n\u00eb t\u00eb kaluar\u00ebn? Si ta shmang\u00ebsh?<\/strong><\/p>\n

Salvatore Settis \u2014 Nuk duhet t\u00eb shikojm\u00eb nga kultura klasike si ndaj nj\u00eb blloku unik, nj\u00eb pidestali nga i cili v\u00ebrejm\u00eb me mendjemadh\u00ebsi pjes\u00ebn tjet\u00ebr t\u00eb bot\u00ebs. Kultura klasike p\u00ebrshkohet nga t\u00eb \u00e7ara brenda saj dhe historia pas e lasht\u00eb e saj \u00ebsht\u00eb akoma m\u00eb shum\u00eb. N\u00eb k\u00ebt\u00eb galeri do t\u00eb shikojm\u00eb nj\u00eb stel\u00eb greke t\u00eb shekullit t\u00eb V p\u00ebrpara Krishtit t\u00eb transportuar n\u00eb Rom\u00eb nga nj\u00eb koleksionist i epok\u00ebs perandorake, e rizbuluar n\u00eb \u2018500, e p\u00ebrfunduar n\u00eb sht\u00ebpin\u00eb e nj\u00eb kardinali, m\u00eb pas braktisur, e sharruar m\u00eb dysh dhe s\u00eb fundi e rizbuluar dhe e transferuar n\u00eb Musei Vaticani. Nuk ekziston nj\u00eb histori lineare. Edhe veprat q\u00eb duam munden nj\u00eb dit\u00eb t\u00eb b\u00ebhen t\u00eb par\u00ebnd\u00ebsishme. Varet nga ne, nga ajo q\u00eb do t\u00eb dijm\u00eb t\u2019u transferojm\u00eb brezave t\u00eb ardhsh\u00ebm.<\/p>\n

Rem Koolhas \u2014 Sigurisht, ekziston nj\u00eb rrezik i mundsh\u00ebm: p\u00ebrsosm\u00ebria estetike e s\u00eb lasht\u00ebs \u00ebsht par\u00eb nga regjime t\u00eb caktuara pik\u00ebrisht si nj\u00eb m\u00ebnyr\u00eb p\u00ebr t\u00eb imponuar rendin. N\u00eb pjes\u00eb t\u00eb mir\u00eb \u00ebsht\u00eb b\u00ebr\u00eb fjal\u00eb p\u00ebr nj\u00eb rekuperim shum\u00eb sip\u00ebrfaq\u00ebsor, n\u00eb terma thuajse ekskluzivisht skenografik\u00eb, mund t\u00eb themi \u00abefekti\u00bb, pasi mbetjet, n\u00eb thjesht\u00ebsin\u00eb dhe bukurin\u00eb e tyre, jan\u00eb t\u00eb afta t\u00eb godasin menj\u00ebher\u00eb n\u00eb zem\u00ebr dhe n\u00eb kok\u00eb. P\u00ebr fat, vet\u00eb ancien r\u00e9gime <\/em>q\u00eb kan\u00eb rekuperuar t\u00eb lasht\u00ebn p\u00ebr motive politike nuk jan\u00eb preokupuar kurr\u00eb t\u00eb shkojn\u00eb n\u00eb thell\u00ebsi.<\/p>\n

Ekspozita propozon nj\u00eb rilexim t\u00eb estetik\u00ebs klasike si di\u00e7ka q\u00eb mund t\u00eb jet\u00eb shum\u00eb bashk\u00ebkohore…<\/strong><\/p>\n

Salvatore Settis \u2014 Asgj\u00eb nuk \u00ebsht\u00eb m\u00eb bashk\u00ebkohore se ideja e riciklimit<\/em>, q\u00eb i b\u00ebn thirrje pamjaftueshm\u00ebris\u00eb s\u00eb gjith\u00e7kaje, duke filluar nga uji dhe nga ushqimi, q\u00eb r\u00ebndon mbi bot\u00ebn e sotme, por \u00ebsht\u00eb edhe nj\u00eb praktik\u00eb e shpesht\u00eb n\u00eb artin bashk\u00ebkohor, nga objet trouv\u00e9 <\/em>e m\u00eb tej. N\u00eb k\u00ebt\u00eb ekspozit\u00eb do t\u00eb shikohet sesi qindra vites midis relievesh, bronzesh, xhevahiresh t\u00eb Rom\u00ebs perandorake do t\u00eb rip\u00ebrdoren, duke e ndryshuar thell\u00ebsisht kuptimin. K\u00ebshtu froni i shekullit t\u00eb II p\u00ebrpara Krishtit i nj\u00eb prifti t\u00eb Dionisit n\u00eb nj\u00eb teat\u00ebr grek n\u00eb brigjet e Turqis\u00eb, m\u00eb pas i ricikluar si karrige episkopale; apo nj\u00eb ornament i madh me delfin\u00eb nga Bazilika e Nettuno n\u00eb Rom\u00eb (menj\u00ebher\u00eb pas Pantheon), q\u00eb ka mbetur pjes\u00ebrisht in situ <\/em>ku ndodhet nga viti 130 pas Krishtit, por pjes\u00ebrisht i transportuar me v\u00ebshtir\u00ebsi t\u00eb madhe n\u00eb Pisa p\u00ebr t\u2019u rip\u00ebrdorur tek Duomo.<\/p>\n

Rem Koolhas \u2014 Nuk besoj se duhet domosdoshm\u00ebrisht t\u00eb flitet p\u00ebr riinterpretim, p\u00ebr rip\u00ebrdorim, p\u00ebr riciklim. Do t\u00eb flisja m\u00eb shum\u00eb p\u00ebr ndryshimin q\u00eb, p\u00ebr shembull, nj\u00eb kolon\u00eb romake mund t\u00eb ket\u00eb kur futet n\u00eb nj\u00eb struktur\u00eb t\u00eb ndryshme edhe kronologjikisht. \u00cbsht\u00eb nj\u00eb infektim q\u00eb nuk prodhon nj\u00eb riciklim t\u00eb sajin sesa rip\u00ebrcaktimin total t\u00eb saj. Pra kjo kolon\u00eb nuk \u00ebsht\u00eb m\u00eb nj\u00eb kolon\u00eb romake; \u00ebsht\u00eb nj\u00eb gj\u00eb tjet\u00ebr.<\/p>\n

Ekspozita flet megjithat\u00eb p\u00ebr Recycling Beauty<\/em>, p\u00ebr rip\u00ebrdorim t\u00eb bukuris\u00eb t\u00eb s\u00eb kaluar\u00ebs\u2026<\/strong><\/p>\n

Rem Koolhas \u2014 P\u00ebr mua ideja e riciklimit lidhet me rip\u00ebrcaktimin total t\u00eb objektit, t\u00eb konteksteve t\u00eb reja, t\u00eb situatave t\u00eb reja. Nuk b\u00ebhet fjal\u00eb p\u00ebr rikuperim t\u00eb s\u00eb kaluar\u00ebs sesa p\u00ebr nj\u00eb krijim t\u00eb \u00abri\u00bb. Ku bukuria, t\u00eb pakt\u00ebn ajo klasike, nuk \u00ebsht\u00eb m\u00eb as e domosdoshme. Ja, do t\u00eb thoja m\u00eb shum\u00eb se ekspozita na mund\u00ebson t\u00eb kuptojm\u00eb at\u00eb se njeriu \u00ebsht\u00eb i aft\u00eb t\u00eb prodhoj\u00eb duke u nisur nga ajo q\u00eb ka qen\u00eb m\u00eb par\u00eb, nga historia e tij: nj\u00eb sekuenc\u00eb mbres\u00ebl\u00ebn\u00ebse kryeveprash.<\/p>\n

Salvatore Settis \u2014 Riciklimi \u00ebsht\u00eb nj\u00eb prej \u00e7el\u00ebsave t\u00eb leximit t\u00eb ekspozit\u00ebs, por q\u00eb nuk ofron nj\u00eb p\u00ebrgjigje univoke, nj\u00eb farashk\u00eb me mund\u00ebsi. Ndonj\u00eb shembull, i zgjedhur midis veprave t\u00eb ekspozuara: kur rreth 1527 humanisti i madh Pietro Bembo u vu n\u00eb posedim t\u00eb nj\u00eb tav\u00eb e madhe e \u00e7muar n\u00eb bronz dhe argjend me dekorime egjiptiane, e inkorporoi n\u00eb jet\u00ebn e p\u00ebrditshme duke e pajisur me k\u00ebmb\u00eb dhe duke e b\u00ebr\u00eb (ndoshta) nj\u00eb tavolin\u00eb pune. N\u00eb an\u00ebn e kund\u00ebrt. Grupi sensacional i nj\u00eb luani q\u00eb shqyen nj\u00eb kal\u00eb (shekulli i IV p\u00ebrpara Krishtit) n\u00eb Mesjet\u00eb u transportua n\u00eb Campidoglio dhe u p\u00ebrdor si simbol i fuqis\u00eb dhe i drejt\u00ebsis\u00eb s\u00eb qytetit t\u00eb Rom\u00ebs. Nj\u00eb rast shum\u00eb i ve\u00e7ant\u00eb \u00ebsht\u00eb statuja e Konstandinit, e lart\u00eb m\u00eb shum\u00eb se 11 metra, s\u00eb cil\u00ebs n\u00eb 1486 ku zbuluan nja 10 fragmente t\u00eb m\u00ebdha, duke filluar nga koka \u2013 portret. Menj\u00ebher\u00eb i d\u00ebrguan n\u00eb Campidoglio dhe u ekspozuan n\u00eb pamje publike si shenj\u00eb supreme e nj\u00eb lavdie t\u00eb lasht\u00eb q\u00eb ishte katandisur n\u00eb g\u00ebrmadh\u00eb, por q\u00eb mund t\u00eb rilind\u00ebte.<\/p>\n

Cil\u00ebt artist\u00eb dhe cil\u00ebt arkitekt\u00eb kan\u00eb ditur t\u00eb \u00abriciklojn\u00eb\u00bb m\u00eb mir\u00eb bukurin\u00eb e s\u00eb kaluar\u00ebs?<\/strong><\/p>\n

Rem Koolhas \u2014 Nuk dua t\u00eb p\u00ebrmend emra, nuk \u00ebsht\u00eb n\u00eb stilin tim, nuk m\u00eb duket e drejt\u00eb. Ama jam i bindur se \u00e7do artist i zoti, \u00e7do arkitekt i zoti duhet t\u00eb jet\u00eb gjithmon\u00eb i aft\u00eb ta p\u00ebrdor\u00eb n\u00eb nj\u00eb m\u00ebnyr\u00eb t\u00eb re at\u00eb q\u00eb ka n\u00eb dispozicion, edhe pse e lasht\u00eb. P\u00ebr shembull, n\u00eb projektin tim p\u00ebr kull\u00ebn e CCTV s\u00eb Pekinit, si n\u00eb at\u00eb t\u00eb Central Library t\u00eb Seattle, m\u00eb \u00ebdht\u00eb dashur t\u00eb konfrontohem me at\u00eb q\u00eb ishte tashm\u00eb, me t\u00eb kaluar\u00ebn, me historin\u00eb e vendit dhe kjo ndodh gjithmon\u00eb: nuk \u00ebsht\u00eb nj\u00eb m\u00ebnyr\u00eb p\u00ebr t\u00eb ricikluar sesa nj\u00eb p\u00ebr t\u2019u konfrontuar.<\/p>\n

Salvatore Settis \u2014 Shembull suprem i rip\u00ebrdorimit arkitektonik i firmosur nga nj\u00eb artis \u00ebsht\u00eb Michelangelo, q\u00eb rip\u00ebrdori g\u00ebrmadhat e Terme di Diocleziano, rreth vitit 300 pas Krishtit, p\u00ebr kish\u00ebn e Santa Maria degli Angeli, 1564. Nj\u00eb rip\u00ebrdorim kolektiv \u00ebsht\u00eb n\u00eb fakt Piazza Navona, q\u00eb e rihedh planin e Stadio di Domiziano, shekulli i I pas Krishtit, dhe pas shekujsh jete m\u00eb kazual i menaxhua n\u00eb \u2018600 si nj\u00eb teat\u00ebr gjigantesk urban, me arkikektura dhe skulptura t\u00eb Bernini, Borromini e t\u00eb tjer\u00eb. N\u00ebse q\u00ebndrojm\u00eb tek barokja, por duke kaluar tek skulptura, n\u00eb ekspozit\u00eb jan\u00eb Moro Borghese <\/em>dhe Zingarella Borghese<\/em>, t\u00eb b\u00ebr\u00eb bashk\u00eb me fragmente t\u00eb lashta mermeri t\u00eb \u00e7muar dhe integrime moderne: ushtrim i jasht\u00ebzakonsh\u00ebm stili i nj\u00eb skulptori francez, Nicolas Cordier.<\/p>\n

Nj\u00eb shembull \u00abrip\u00ebrdorimi t\u00eb mir\u00eb\u00bb?<\/strong><\/p>\n

Salvatore Settis \u2014 \u00abRip\u00ebrdorim i mir\u00eb\u00bb ka qen\u00eb ai q\u00eb b\u00ebr\u00eb Papa Siksti i IV m\u00eb 1471, kur spostoi nga San Giovanni in Laterano (pron\u00ebsi papnore) n\u00eb Campidoglio (selia e Komun\u00ebs) statujat e lashta t\u00eb pakta e t\u00eb \u00e7muara prej bronzi q\u00eb kishin shp\u00ebtuar (mij\u00ebra bronze t\u00eb lashta u shkrin\u00eb n\u00eb Mesjet\u00eb prej munges\u00ebs t\u00eb metaleve). Siksti i IV ia dhuroi statujat \u00abPopullit Romak, nga gjiri i t\u00eb cilit pat\u00ebn lindur\u00bb, duke krijuar b\u00ebrtham\u00ebn e par\u00eb t\u00eb asaj q\u00eb m\u00eb 1734 do t\u00eb b\u00ebhej muzeumi i par\u00eb i lasht\u00eb publik i bot\u00ebs, Capitolini.<\/p>\n

Rem Koolhas \u2014 Mendoj se nuk ka kuptim t\u00eb flitet p\u00ebr t\u00eb bukur dhe t\u00eb sh\u00ebmtuar…<\/p>\n

Ekspozita propozon edhe nj\u00eb ide t\u00eb re ruajtjeje dhe, n\u00eb nj\u00ebfar\u00eb m\u00ebnyre, edhe muzeale. Jeni dakord?<\/strong><\/p>\n

Salvatore Settis \u2014 Muzeumi \u00ebsht\u00eb nj\u00eb institucion relativisht i vonsh\u00ebm, i 1734, por edhe m\u00eb par\u00eb qen\u00eb koleksionet, akumulime objektesh, diskutime mbi interpretimin, ruajtjen, restaurimin e tyre. \u00cbsht\u00eb nj\u00eb fush\u00eb shum\u00eb e l\u00ebvizshme, ku nuk ka norma fiks edhe universale. \u00abRregullat e loj\u00ebs\u00bb ndryshuan dhe do t\u00eb ndryshojn\u00eb me kalimin e koh\u00ebs, prandaj \u00ebsht\u00eb e nevojshme t\u00eb kapet n\u00ebp\u00ebrmjet historis\u00eb shum\u00ebfisht\u00ebsia e eksperimenteve dhe e z\u00ebrave.<\/p>\n

Rem Koolhas \u2014 Nuk do t\u00eb flisja aq shum\u00eb p\u00ebr iden\u00eb e re t\u00eb nj\u00eb muzeumi. Besoj m\u00eb shum\u00eb se n\u00eb k\u00ebt\u00eb ekspozit\u00eb propozohet thelb\u00ebsisht nj\u00eb nevoj\u00eb e re, ajo e prezantimeve q\u00eb nuk e theksojn\u00eb t\u00eb lasht\u00ebm, sesa e b\u00ebjn\u00eb m\u00eb t\u00eb af\u00ebrt t\u00eb mundur, m\u00eb t\u00eb kupueshmen p\u00ebr vizitor\u00ebt. Edhe p\u00ebr k\u00ebt\u00eb prezantim do t\u00eb synohet mbi nj\u00eb zgjerim perspektive, mbi hap\u00ebsira t\u00eb gjera q\u00eb n\u00eb nj\u00ebfar\u00eb m\u00ebnyre komunikojn\u00eb midis tyre edhe vizualisht dhe pastaj, n\u00eb rrug\u00ebtim, do t\u00eb ket\u00eb hap\u00ebsira p\u00ebr t\u2019u ulur, p\u00ebr t\u00eb reflektuar, p\u00ebr t\u00eb vendosur nj\u00eb kontakt t\u00eb m\u00ebtejsh\u00ebm me k\u00ebto kryevepra.<\/p>\n

Duke e aktualizuar, si mund ta p\u00ebrcaktoni at\u00ebhere konceptin e restaurimit?<\/strong><\/p>\n

Rem Koolhas \u2014 Nuk di shum\u00eb, m\u00eb mir\u00eb t\u00eb flas\u00eb profesor Settis…<\/p>\n

Salvatore Settis \u2014 Mbi k\u00ebt\u00eb front ekzistojn\u00eb tashm\u00eb shum\u00eb shkolla mendimi, shum\u00eb praktika n\u00eb kontrast dhe n\u00eb polemika midis tyre. kjo ekspozit\u00eb ofron mbi tem\u00ebn nj\u00eb k\u00ebndvshtrim t\u00eb ve\u00e7ant\u00eb: fton t\u00eb konsiderohen bashk\u00eb procesi i cop\u00ebzimit t\u00eb lasht\u00ebsis\u00eb dhe rikompozimi i tyre. Kemi mbledhur p\u00ebr her\u00eb t\u00eb par\u00eb t\u00eb gjitha relievet e froneve t\u00eb hyjnive dhe zot\u00ebrve t\u00eb dashuris\u00eb, skulptura t\u00eb shekullit t\u00eb I pas Krishtit q\u00eb n\u00eb Ravenna p\u00ebrb\u00ebnin nj\u00eb seri imponuese me 24 lastra, thuajse t\u00eb gjitha t\u00eb humbura (mermer\u00ebt p\u00ebrdoreshin n\u00eb Mesjet\u00eb, por edhe m\u00eb pas, sidomos p\u00ebr t\u00eb b\u00ebr\u00eb g\u00eblqeren). Por di\u00e7ka shp\u00ebtoi, duke emigruar nga Ravenna fillimisht drejt qyteteve t\u00eb vogla (Biella, Treviso, Foligno), m\u00eb pas n\u00eb koleksione t\u00eb m\u00ebdha, nga Uffizi n\u00eb Louvre.<\/p>\n

Pas entuziazmeve p\u00ebr artin bashk\u00ebkohor, mund t\u00eb ket\u00eb ardhur m\u00eb s\u00eb fundi koha e nj\u00eb rizbulimi t\u00eb arkeologjis\u00eb dhe i vler\u00ebs s\u00eb saj?<\/strong><\/p>\n

Salvatore Settis \u2014 Do t\u00eb ishte gabim t\u00eb kund\u00ebrv\u00ebsht t\u00eb lasht\u00ebn dhe bashk\u00ebkohoren: sfida e v\u00ebrtet\u00eb \u00ebsht\u00eb t\u00eb kap\u00ebsh fluksin e historis\u00eb, nga lasht\u00ebsia deri m\u00eb sot, bile nes\u00ebr, si n\u00eb rrjedh\u00ebn e nj\u00eb lumi q\u00eb nuk ndalet kurr\u00eb dhe ku e lashta e modernia p\u00ebrzihen pik\u00eb pas pike. Detyra e kujt i studion k\u00ebto gj\u00ebra \u00ebsht\u00eb ta ndaj\u00eb k\u00ebt\u00eb vet\u00ebdije me numrin m\u00eb t\u00eb madh t\u00eb njer\u00ebzve.<\/p>\n

Rem Koolhas \u2014 Jam dakord. P\u00ebr mua, n\u00eb ve\u00e7anti, lasht\u00ebsia ka qen\u00eb gjithmon\u00eb nj\u00eb element referimi. Por nj\u00eb bukuri q\u00eb mund t\u00eb shikohet vet\u00ebm nga kush d\u00ebshiron ta shoh\u00eb. Nuk besoj se pasioni p\u00ebr t\u00eb lasht\u00ebn mund t\u00eb jet\u00eb nj\u00eb l\u00ebvizje masive; pastaj, n\u00eb faktin q\u00eb t\u00eb mos jet\u00eb di\u00e7ka p\u00ebr t\u00eb gjith\u00eb q\u00ebndron nj\u00eb motiv tjet\u00ebr i bukuris\u00eb t\u00eb s\u00eb lasht\u00ebs.<\/p>\n

Pse lasht\u00ebsia duket se sot shikohet me ndrojtje, si di\u00e7ka e larg\u00ebt? Edhe n\u00eb Itali, ku pesha e s\u00eb lasht\u00ebs \u00ebsht\u00eb e madhe…<\/strong><\/p>\n

Salvatore Settis \u2014 Si\u00e7 e thash\u00eb m\u00eb par\u00eb: \u00ebsht\u00eb p\u00ebr shkak t\u00eb obsesionit t\u00eb s\u00eb tashmes q\u00eb na dominon, dhe i zhvler\u00ebsimit n\u00eb rritje (dhe t\u00eb mallkuar) t\u00eb historis\u00eb n\u00eb shkolla dhe n\u00eb kultur\u00ebn e p\u00ebrgjithshme, e mir\u00ebp\u00ebrshkruar nga Adriano Prosperi n\u00eb librin e tij t\u00eb fundit Nj\u00eb koh\u00eb pa histori<\/em>.<\/p>\n

Rem Koolhas \u2014 Un\u00eb nuk besoj se \u00ebsht\u00eb k\u00ebshtu. Mendoj se turist\u00ebt kinez\u00eb apo jugamerikan\u00eb q\u00eb mbushin Rom\u00ebn nuk jan\u00eb aspak t\u00eb frik\u00ebsuar nga e lashta. Ndoshta jan\u00eb italian\u00ebt, p\u00ebrgjithmon\u00eb t\u00eb m\u00ebsuar dhe n\u00eb nj\u00eb far\u00eb m\u00ebnyre t\u00eb shtypur nga k\u00ebto prani. Ndoshta turist\u00ebt arrijn\u00eb ta tejkalojn\u00eb \u00abfrik\u00ebn reverenciale\u00bb tuaj.<\/p>\n

Ky \u00ebsht\u00eb viti i dyqindvjetorit t\u00eb vdekjes s\u00eb Antonio Canova, nj\u00eb tjet\u00ebr rip\u00ebrdorues i mrekulluesh\u00ebm i s\u00eb lasht\u00ebs…<\/strong><\/p>\n

Salvatore Settis \u2014 P\u00ebr t\u00eb demonstruar madh\u00ebshtin\u00eb e Canova, p\u00ebrtej vep\u00ebr s\u00eb tij si skulptor i madh i neoklasikes, mjafton nj\u00eb episod: kur u konsultua p\u00ebr mermer\u00ebt e Partenone prej pak koh\u00ebsh t\u00eb ardhur n\u00eb Lond\u00ebr, rekomandova t\u00eb mos restaurohen duke i kompletuar boshll\u00ebqet; pik\u00ebrisht t\u00eb kund\u00ebrt\u00ebn e Bertel Thorvaldsen, q\u00eb nd\u00ebrhyri r\u00ebnd\u00eb mbi skulpturat e tempullit t\u00eb Egina t\u00eb transportuara n\u00eb Mynih t\u00eb Bavaris\u00eb. P\u00ebr fat\u00eb, anglez\u00ebt i dhan\u00eb t\u00eb drejt\u00eb Canova.<\/p>\n

Rem Koolhas \u2014 Canova ka pasur inteligjenc\u00ebn t\u00eb transformoj\u00eb t\u00eb lasht\u00ebn n\u00eb di\u00e7ka ndryshe, duke i dh\u00ebn\u00eb nj\u00eb lexim rilind\u00ebs t\u00eb kaluar\u00ebs. N\u00eb k\u00ebt\u00eb q\u00ebndron madh\u00ebshtia e tij.<\/p>\n

Respektivisht me dy etapat e m\u00ebparshme, n\u00eb \u00e7far\u00eb gj\u00ebje kjo ekspozit\u00eb e re do t\u00eb jet\u00eb ndryshe? Mbi t\u00eb gjitha edhe n\u00eb pajime keni zgjedhur t\u00eb praktikoni \u00abartin e rip\u00ebrdorimit\u00bb duke rimarr\u00eb pjes\u00eb t\u00eb pajisjeve t\u00eb m\u00ebparshme…<\/strong><\/p>\n

Rem Koolhas \u2014 N\u00eb 2015 rr\u00ebfyem riprodhueshm\u00ebrin\u00eb e lasht\u00ebsis\u00eb, duke eliminuar iden\u00ebn e unicitetit t\u00eb saj, por edhe at\u00eb t\u00eb se lasht\u00ebs baraz me kryevep\u00ebr. Nj\u00eb ide e rekuperuar n\u00eb k\u00ebt\u00eb ekspozit\u00eb. Pajisjet e vjetra? E drejt\u00eb t\u2019i rekuperosh, nuk \u00ebsht\u00eb koh\u00eb harxhimesh; pastaj i japin vijueshm\u00ebri projektit.<\/p>\n

Salvatore Settis \u2014 Serial Classic <\/em>fillonte nga nj\u00eb kategori konceptuale, serialiteti, q\u00eb ka nj\u00eb rol t\u00eb r\u00ebnd\u00ebsish\u00ebm n\u00eb artin bashk\u00ebkhor dhe q\u00eb artikulonte me veprat t\u00eb gjitha dhe vet\u00ebm t\u00eb artit t\u00eb lasht\u00eb. Recycling Beauty <\/em>ka nj\u00eb shk\u00ebndij\u00eb t\u00eb ngjashme: fillon nga kategoria e riciklimit, tep\u00ebr e praktikuar nga artist\u00ebt e sot\u00ebm, por e v\u00eb n\u00eb sken\u00eb vet\u00ebm me vepra arti t\u00eb lasht\u00eb, pa nd\u00ebrhyrje artist\u00ebsh bashk\u00ebkohor\u00eb. Diferenca midis nj\u00ebr\u00ebs dhe tjetr\u00ebs nuk \u00ebsht\u00eb vet\u00ebm distanca q\u00eb ekziston midis serialitetit dhe recycling, por edhe shtrirja n\u00eb hap\u00ebsir\u00eb dhe n\u00eb koh\u00eb, q\u00eb k\u00ebsaj radhe \u00ebsht\u00eb shum\u00eb e madhe. Qark i shkurt\u00ebr \u00ebsht\u00eb fjal\u00eb ky\u00e7e: \u00e7do vep\u00ebr n\u00eb ekspozit\u00eb i p\u00ebrket nj\u00ebherazi koh\u00ebve dhe l\u00ebvizjeve t\u00eb ndryshme n\u00eb hap\u00ebsir\u00eb.<\/p>\n

Sipas jush, cilat vepra e p\u00ebrfaq\u00ebsojn\u00eb m\u00eb mir\u00eb iden\u00eb e k\u00ebsaj ekspozite?<\/strong><\/p>\n

Salvatore Settis \u2014 Mund t\u00eb thoja statuja e shekullit t\u00eb I pas Krishtit t\u00eb cil\u00ebs rreth 1501 ju shtua nj\u00eb kok\u00eb me vep\u00ebrn e nj\u00eb skulptori venecian dhe m\u00eb pas nj\u00eb mbishkrim q\u00eb e identifikon si Efigjenia e Shenjt\u00eb. At\u00ebhere ishte nj\u00eb vep\u00ebr e vetme, por purizmi i nj\u00eb kulture muzeale t\u00eb \u2018800 ia ndau tre pjes\u00ebt, t\u00eb rkompozuara n\u00eb ekspozit\u00eb p\u00ebr her\u00eb t\u00eb par\u00eb. Nj\u00eb shembull i dyt\u00eb \u00ebsht\u00eb koka kolosale e kalit prej bronzi, vep\u00ebr e Donatello, e krijuar n\u00eb Firenze p\u00ebr t\u2019u ekspozuar n\u00eb Napoli. K\u00ebtu rip\u00ebrdorimi \u00ebsht\u00eb vet\u00ebm nj\u00eb aspekt i shokut hap\u00ebsinor kohor q\u00eb veprat n\u00eb ekspozit\u00eb paraqesin. M\u00eb e r\u00ebnd\u00ebsishme \u00ebsht\u00eb se kultura ndoshta e konsideruar e lasht\u00eb deri pak dekada m\u00eb par\u00eb: nj\u00eb skulptor i \u2018400 q\u00eb zhytet aq shum\u00eb n\u00eb fund t\u00eb shpirtit t\u00eb kultur\u00ebs klasike sa q\u00eb v\u00eb n\u00eb kriz\u00eb vet\u00eb kategorit\u00eb e historis\u00eb s\u00eb artit.<\/p>\n

Rem Koolhas \u2014 Sigurisht gishti i madh i Konstandinit: nj\u00eb cop\u00ebz me forc\u00eb e t\u00eb gjit\u00eb kolosit.<\/p>\n

(nga La Lettura<\/em>)<\/p>\n

P\u00ebrgatiti<\/strong><\/p>\n

ARMIN TIRANA<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Riciklimi i bukuris\u00eb Fondacioni Prada inauguron n\u00eb Milano aktin e tret\u00eb t\u00eb refleksionit mbi klasicitetin dhe bashk\u00ebkohoren. Flasin kuratori Salvatore Settis dhe Rem Koolhaas, q\u00eb ka firmosur projektet ekspozuese. Recycling Beauty, ekspozita q\u00eb hapet t\u00eb enjten 17 n\u00ebntor n\u00eb Fondacionin Prada t\u00eb Milano, nuk \u00ebsht\u00eb vet\u00ebm akti i tret\u00eb i nj\u00eb rikonjicioni q\u00eb ka prodhuar …<\/p>\n","protected":false},"author":4,"featured_media":37982,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[42],"tags":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/foltore.al\/index.php\/wp-json\/wp\/v2\/posts\/37981"}],"collection":[{"href":"https:\/\/foltore.al\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/foltore.al\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/foltore.al\/index.php\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/foltore.al\/index.php\/wp-json\/wp\/v2\/comments?post=37981"}],"version-history":[{"count":0,"href":"https:\/\/foltore.al\/index.php\/wp-json\/wp\/v2\/posts\/37981\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/foltore.al\/index.php\/wp-json\/wp\/v2\/media\/37982"}],"wp:attachment":[{"href":"https:\/\/foltore.al\/index.php\/wp-json\/wp\/v2\/media?parent=37981"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/foltore.al\/index.php\/wp-json\/wp\/v2\/categories?post=37981"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/foltore.al\/index.php\/wp-json\/wp\/v2\/tags?post=37981"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}