{"id":2390,"date":"2016-10-03T09:10:06","date_gmt":"2016-10-03T08:10:06","guid":{"rendered":"http:\/\/cod.al\/?page_id=2390"},"modified":"2016-10-03T09:10:06","modified_gmt":"2016-10-03T08:10:06","slug":"lek-m-gjeloshi","status":"publish","type":"page","link":"https:\/\/cod.al\/?page_id=2390","title":{"rendered":"Lek M. Gjeloshi"},"content":{"rendered":"<p>[vc_row][vc_column][vc_column_text]<img loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-2391 alignleft\" src=\"http:\/\/cod.al\/wp-content\/uploads\/2016\/10\/lekm-1024x412.png\" alt=\"lekm\" width=\"720\" height=\"290\" srcset=\"https:\/\/cod.al\/wp-content\/uploads\/2016\/10\/lekm-1024x412.png 1024w, https:\/\/cod.al\/wp-content\/uploads\/2016\/10\/lekm-300x121.png 300w, https:\/\/cod.al\/wp-content\/uploads\/2016\/10\/lekm.png 2044w\" sizes=\"auto, (max-width: 720px) 100vw, 720px\" \/>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]I lindur n\u00eb Shkod\u00ebr, Lek M. Gjeloshi e la qytetin p\u00ebr t\u00eb studiuar arte t\u00eb bukura n\u00eb Firence t\u00eb Italis\u00eb. I ndikuar shum\u00eb nga klima vendase, asokohe me theks rilindas, ai nisi krijimin e antropocenit t\u00eb tij n\u00eb hap\u00ebsirat e galerive. Gjeloshi flet p\u00ebr tema shum\u00eb komplekse, t\u00eb jet\u00ebs s\u00eb p\u00ebrditshme, t\u00eb p\u00ebrkthyeshme n\u00eb filozofi me terma t\u00eb till\u00eb, si: shum\u00ebllojshm\u00ebria, t\u00eb shnd\u00ebrruarit, heterotopia&#8230; Koncepte q\u00eb b\u00ebhen leht\u00ebsisht t\u00eb qarta kur hyjn\u00eb n\u00eb dialog t\u00eb drejtp\u00ebrdrejt\u00eb me veprat e tij. N\u00ebp\u00ebrmjet veprave t\u00eb tij, &#8220;t\u00eb qen\u00ebt&#8221; i mbyllur n\u00eb procesin filmik dhe narrativ, her\u00eb pas here kthehet n\u00eb p\u00ebrvoj\u00eb shqisore.<br \/>\nN\u00eb COD | Artist Talk, Gjeloshi do t\u00eb na prezantoj\u00eb qasjen dhe metodat e tij p\u00ebr krijimin e mjediseve n\u00eb hap\u00ebsirat e galerive, duke filluar nga ekspozita e fundit vetjake n\u00eb Shkod\u00ebr e duke u kthyer pas n\u00eb koh\u00eb, n\u00eb nd\u00ebrhyrjet e m\u00ebparshme n\u00eb hap\u00ebsira t\u00eb ndryshme ekspozimi.<\/p>\n<p>Nd\u00ebr ekspozitat e tij p\u00ebrmenden:<\/p>\n<p>OFF-CELLS, Galeria e Qytetit t\u00eb Shkodr\u00ebs, ekspozit\u00eb individuale 2016<\/p>\n<p>Ich will (2010), Pa titull (2008), Pa titull 2 (2016), Kreuzung der V\u00f6gel (2015), Me fjal\u00eb t\u00eb tjera (2016), Scenopoietes dentirostris EP [A.k.a Bird in space] (2015), E panjohur [studim p\u00ebrgatitor p\u00ebr nj\u00eb veprim t\u00eb shkurt\u00ebr] (2013).<\/p>\n<p><em>Off-cells<\/em> \u00ebsht\u00eb titulli i ekspozit\u00ebs s\u00eb realizuar s\u00eb fundmi n\u00eb Galerin\u00eb e Qytetit t\u00eb Shkodr\u00ebs, ku shfaqen vepra t\u00eb ndryshme t\u00eb prodhuara nga Gjeloshi gjat\u00eb viteve 2008-2016. Titulli \u00ebsht\u00eb frym\u00ebzuar nga nj\u00eb tekst i Giorgio Agambenit n\u00eb t\u00eb cilin autori reflekton rreth marr\u00ebdh\u00ebnies mes \u201cbashk\u00ebkohores&#8221; dhe koh\u00ebs s\u00eb saj. <em>Off-cells<\/em> jan\u00eb qelizat periferike e t\u00eb lira t\u00eb retin\u00ebs, p\u00ebrmes t\u00eb cilave, sipas neurolog\u00ebve, mund t\u00eb perceptohet err\u00ebsira ashtu si\u00e7 \u00ebsht\u00eb dhe jo si munges\u00eb t\u00eb drit\u00ebs. \u00cbsht\u00eb pik\u00ebrisht perceptimi intim i err\u00ebsir\u00ebs n\u00eb koh\u00ebn e vet ai q\u00eb, sipas Agambenit, karakterizon vizionin e tij t\u00eb ve\u00e7ant\u00eb t\u00eb bashk\u00ebkoh\u00ebsis\u00eb.<\/p>\n<p><strong>Alias REZISTENCA, vendi-specifik, 2012<\/strong><\/p>\n<p>N\u00eb instalacionin e tij <em>Aka Rezistance<\/em>, Leka qas dilem\u00ebn e heshtjes n\u00eb m\u00ebnyr\u00eb ndjell\u00ebse, d\u00ebgjimore dhe t\u00eb prekshme. Dyshemeja e hap\u00ebsir\u00ebs s\u00eb tij \u00ebsht\u00eb e mbuluar me shtresa flluskash plastike, t\u00eb cilat krijojn\u00eb shp\u00ebrthime t\u00eb vogla kur ec\u00ebn p\u00ebrsip\u00ebr; lart n\u00eb mur, n\u00eb rresht nj\u00ebra pas tjetr\u00ebs, jan\u00eb kamat k\u00ebrc\u00ebnuese q\u00eb p\u00ebrdoren p\u00ebr t\u00eb mbajtur zogjt\u00eb larg nd\u00ebrtesave. Nj\u00eb sugjerim muzikor b\u00ebhet p\u00ebrmes fotografis\u00eb s\u00eb heshtur t\u00eb fizarmonicistit t\u00eb verb\u00ebr t\u00eb filmit \u201cAmarcord\u201d t\u00eb Federico Fellinit (1973), e varur n\u00eb mur. Si nj\u00eb flutur e fiksuar n\u00eb tabel\u00eb, k\u00ebtu kujtesa \u00ebsht\u00eb mbledhur e gjitha dhe shfaqet e pal\u00ebvizshme n\u00eb nj\u00eb vakuum shqet\u00ebsues e poetik. <em>(Teksti nga David Elliott, 2014)<\/em><\/p>\n<p><strong>TU K\u00d9UR, film\/ vendi-specific, 2013 <\/strong><\/p>\n<p>N\u00eb Casa Masaccio (nj\u00eb qend\u00ebr e artit bashk\u00ebkohor n\u00eb Toscana), n\u00eb nj\u00eb ekspozit\u00eb t\u00eb fokusuar n\u00eb iden\u00eb e projektimit (Proiezioni 2013), Gjeloshi vendosi t\u00eb nd\u00ebrhynte n\u00eb hap\u00ebsir\u00eb duke shfaqur nj\u00eb film nga B\u00e9la Tarr S\u00e1t\u00e1ntang\u00f3 (1994), q\u00eb p\u00ebrtej vizionit t\u00eb fort\u00eb apokaliptik ka gjithashtu, nj\u00eb koh\u00ebzgjatje jo t\u00eb zakont\u00eb prej 7 or\u00ebsh e gjysm\u00eb. Si\u00e7 thot\u00eb artisti: &#8220;U p\u00ebrpoqa ta caktoja orarin e filmit n\u00eb kund\u00ebrshtim me oraret e hapjes s\u00eb ekspozit\u00ebs, fakt q\u00eb nuk e krijonte mund\u00ebsin\u00eb e shfaqjes s\u00eb plot\u00eb t\u00eb filmit p\u00ebr publikun. P\u00ebr pasoj\u00eb, fundi i tij shtyhej gjithnj\u00eb, duke e b\u00ebr\u00eb p\u00ebrfundimin e historis\u00eb, apo m\u00eb n\u00eb thelb, p\u00ebrmbushjen e fatit, t\u00eb pamundur&#8221;.<\/p>\n<p><strong>NOTTETEMPO, piktura, 2015 (n\u00eb vazhdim)<\/strong><\/p>\n<p>Kjo seri n\u00eb vazhdim pikturash \u00ebsht\u00eb b\u00ebr\u00eb p\u00ebr t\u00eb sjell\u00eb s\u00ebrish skena nga filmat e Bela Tarr, n\u00eb m\u00ebnyr\u00eb t\u00eb ve\u00e7ant\u00eb sken\u00ebn e Werckmester Harmonies (2000). T\u00eb gjitha pikturat jan\u00eb realizuar me dor\u00eb nga artisti, p\u00ebrmes prekjes s\u00eb gishtave n\u00eb sip\u00ebrfaqen e shk\u00eblqyer t\u00eb ekranit, nga ato q\u00eb arrin t\u00eb mbaj\u00eb mend. Me k\u00ebt\u00eb gjest, her\u00eb pas here, di\u00e7ka i shtohet apo hiqet vepr\u00ebs, n\u00eb m\u00ebnyr\u00eb arbitrare, nga e nj\u00ebjta sken\u00eb e filmit.<\/p>\n<p><strong>RRETH ARTISTIT <\/strong><\/p>\n<p>Lek M. Gjeloshi (1987) ka lindur n\u00eb Shkod\u00ebr. Studimet i p\u00ebrfundoi n\u00eb Akademin\u00eb e Arteve t\u00eb Bukura n\u00eb Firence t\u00eb Italis\u00eb, ku jeton dhe punon. N\u00eb vitin 2016 hapi ekspozit\u00ebn e par\u00eb vetjake n\u00eb Galerin\u00eb e Qytetit n\u00eb Shkod\u00ebr, t\u00eb ndjekur nga nj\u00eb tjet\u00ebr n\u00eb Villa Romana n\u00eb Firence t\u00eb Italis\u00eb. Nj\u00eb pjes\u00eb e p\u00ebrzgjedhur nga ekspozitat e tij t\u00eb p\u00ebrbashk\u00ebta: &#8220;Nuovo Cinema Masaccio&#8221; (2014), &#8220;Fuori posto&#8221; (2013), &#8220;Proiezioni 2013&#8221; e (2012) kuruar nga Pier Luigi Tazzi &#8220;A time for dreams&#8221; (2014) &#8220;Lontano da dove?&#8221; kuruar nga David Elliott e &#8220;Terranauti&#8221; (2015), e kuruar nga Ilaria Mariotti dhe Angelika Stepken. N\u00eb vitin 2015 Gjeloshi u nderua me \u00e7mimin komb\u00ebtar &#8220;Idromeno&#8221; p\u00ebr artet pamore.<\/p>\n<p>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>[vc_row][vc_column][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]I lindur n\u00eb Shkod\u00ebr, Lek M. Gjeloshi e la qytetin p\u00ebr t\u00eb studiuar arte t\u00eb bukura n\u00eb Firence t\u00eb Italis\u00eb. I ndikuar shum\u00eb nga klima vendase, asokohe me theks rilindas, ai nisi krijimin e antropocenit t\u00eb tij n\u00eb hap\u00ebsirat e<\/p>\n","protected":false},"author":5,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-2390","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/cod.al\/index.php?rest_route=\/wp\/v2\/pages\/2390","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/cod.al\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/cod.al\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/cod.al\/index.php?rest_route=\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/cod.al\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2390"}],"version-history":[{"count":1,"href":"https:\/\/cod.al\/index.php?rest_route=\/wp\/v2\/pages\/2390\/revisions"}],"predecessor-version":[{"id":2392,"href":"https:\/\/cod.al\/index.php?rest_route=\/wp\/v2\/pages\/2390\/revisions\/2392"}],"wp:attachment":[{"href":"https:\/\/cod.al\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2390"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}