{"id":2980,"date":"2016-11-25T12:59:31","date_gmt":"2016-11-25T11:59:31","guid":{"rendered":"http:\/\/cod.al\/?page_id=2980"},"modified":"2016-11-25T12:59:31","modified_gmt":"2016-11-25T11:59:31","slug":"alfredo","status":"publish","type":"page","link":"https:\/\/cod.al\/?page_id=2980","title":{"rendered":"Alfredo"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text]Vizioni i zgjeruar i Shqip\u00ebris\u00eb<\/strong> (ALBANIA EXPANDED IMAGE): Bised\u00eb me<\/em> Z. ALFREDO CRAMEROTTI<\/strong><\/p>\n

“Realitetet m\u00eb t\u00eb dukshme dhe t\u00eb p\u00ebrhapura ngado – e m\u00eb t\u00eb r\u00ebnd\u00ebsishmet gjithashtu, – jan\u00eb shpesh m\u00eb t\u00eb v\u00ebshtirat p\u00ebr t\u2019u par\u00eb e p\u00ebr t\u2019u komentuar…”, shkruan Alfredo Cramerotti n\u00eb prezantimin e tekstit t\u00eb tij n\u00eb Hyperimage. T\u00eb gjith\u00eb duhet t\u00eb kuptojm\u00eb q\u00eb jetojm\u00eb n\u00eb bot\u00ebn e imazheve. Komunikojm\u00eb me ta, teksa punojm\u00eb apo p\u00ebrdorim arkivat, provojm\u00eb emocione dit\u00eb pas dite, ose shk\u00ebmbejm\u00eb informacion. I kopjojm\u00eb e rikopjom\u00eb, i fshijm\u00eb dhe i gjejm\u00eb s\u00ebrish… Ato po b\u00ebhen fjalori yn\u00eb pa sintaks\u00eb, ku kohezioni dhe koherenca p\u00ebrgjojn\u00eb n\u00eb kutin\u00eb e sendeve t\u00eb humbura e m\u00eb pas t\u00eb gjetura. Artist\u00ebt, ashtu si gazetar\u00ebt, politikan\u00ebt e shoq\u00ebria, prodhojn\u00eb imazhe dhe i shp\u00ebrndajn\u00eb n\u00ebp\u00ebrmjet pajisjeve t\u00eb ndryshme, formateve p\u00ebr p\u00ebrdorime dhe audienca t\u00eb ndryshme. \u00c7do \u00e7ast, t\u00eb gjith\u00eb ne p\u00ebrdorim nj\u00eb lloj “esperantoje pamore”. Si t\u00eb arrijm\u00eb ta kuptojm\u00eb k\u00ebt\u00eb fjalor t\u00eb ri, ende jo t\u00eb zyrtarizuar?<\/p>\n

Alfredo Cramerotti do t\u00eb flas\u00eb n\u00eb COD p\u00ebr Hyperimage, duke shpjeguar argumentin e tij teorik si dhe qasjen individuale ndaj praktik\u00ebs kuratoriale, njw dialog me Valentina Bonizzi.<\/p>\n

Albania Expanded Image (Vizioni i zgjeruar i Shqip\u00ebris\u00eb) \u00ebsht\u00eb nj\u00eb seri diskutimesh q\u00eb lidhen me rolin e medias n\u00eb prodhimin artistik t\u00eb rajonit. Pas nj\u00eb hulumtimi paraprak, AEI arriti n\u00eb p\u00ebrfundimin se n\u00eb rastin specifik t\u00eb Shqip\u00ebris\u00eb, marr\u00ebdh\u00ebnia mes artit dhe medias \u00ebsht\u00eb p\u00ebrthithur e gjitha nga dialogu politik q\u00eb zhvillohet n\u00eb televizione, radio, mediat sociale, ashtu si n\u00eb baret e t\u00eb gjith\u00eb vendit. AEI synon ta b\u00ebj\u00eb t\u00eb duksh\u00ebm e t\u00eb r\u00ebnd\u00ebsish\u00ebm k\u00ebt\u00eb dialog, duke e risjell\u00eb n\u00eb vendin ku ka ndikimin m\u00eb t\u00eb madh.<\/p>\n

AEI
\n<\/strong>(Valentina Bonizzi, Alfredo Cramerotti dhe Dhoma e Sekreteve Publike)<\/p>\n

Alfredo Cramerotti<\/strong> \u00ebsht\u00eb shkrimtar, kurator, botues dhe artist, i cili ofron drejtim \u00a0strategjik dhe artistik t\u00eb institucioneve kulturore. Cramerotti \u00ebsht\u00eb drejtori i Mostyn, qendr\u00ebs kryesore pamore t\u00eb artit n\u00eb Uells, n\u00eb Mbret\u00ebrin\u00eb e Bashkuar; bashk\u00ebdrejtor i AGM Culture, agjencis\u00eb kuratoriale roaming (2003-) dhe Dhom\u00ebs CPS t\u00eb Sekreteve Publike, si produksion i artit dhe medias (2004-); redaktor i seris\u00eb t\u00eb Fotove Kritike, Intellect Books, Bristol n\u00eb Mbret\u00ebrin\u00eb e Bashkuar dhe \u00c7ikago n\u00eb SHBA. Mes shum\u00eb t\u00eb tjerash, ka bashk\u00ebkuruar bienalet Manifesta 8 n\u00eb Murcia t\u00eb Spanj\u00ebs dhe Sekuencat 7 n\u00eb Rejkjavik\u00a0 t\u00eb Island\u00ebs, tre pavijone n\u00eb Bienalen e Venecias (Maldivet dhe Uellsin n\u00eb vitin 2013, Mauritanin\u00eb n\u00eb 2015) dhe EXPO VIDEO n\u00eb \u00c7ikago t\u00eb SHBA.<\/p>\n

Cramerotti \u00ebsht\u00eb lektor n\u00eb disa universitete europiane dhe amerikane, duke p\u00ebrfshir\u00eb Goldsmiths, Universitetin e Londr\u00ebs, Universitetin Katolik t\u00eb Milanos, Universitetin e Liverpulit John Moores, Akademin\u00eb Komb\u00ebtare t\u00eb Arteve t\u00eb Oslos, Shkoll\u00ebn e Institutit t\u00eb Artit t\u00eb \u00c7ikagos, Universitetin e Uestminsterit, Universitetin e Artit dhe Dizajnit t\u00eb Gjenev\u00ebs, HEAD dhe Institutin Holandez t\u00eb Arteve, DAI. Q\u00eb nga viti 2012, \u00ebsht\u00eb k\u00ebrkues shkencor, kandidat p\u00ebr titullin Doktor n\u00eb Qendr\u00ebn Europiane t\u00eb K\u00ebrkimeve Fotografike ECPR n\u00eb Universitetin e Uellsit Jugor,\u00a0 n\u00eb Mbret\u00ebrin\u00eb e Bashkuar.<\/p>\n

Valentina Bonizzi<\/strong><\/p>\n

Puna\u00a0k\u00ebrkimore\u00a0e Valentina Bonizzi-t eksploron rolin e imazhit n\u00eb t\u00eb gjitha format e tij t\u00eb zgjeruara, duke e\u00a0lidhur\u00a0politik\u00ebn e koh\u00ebs me hibriditetin, migrimin dhe mjedisin.<\/p>\n

Nd\u00ebr t\u00eb tjera, Bonizzi ka ekspozuar n\u00eb Galerin\u00eb Komb\u00ebtare t\u00eb Skocis\u00eb, Gallerin\u00eb Stills, Fondacionin e Fotografis\u00eb Modena dhe Shkoll\u00ebn Britanike n\u00eb Rom\u00eb. Pun\u00ebn e saj k\u00ebrkimore\u00a0e ka prezantuar n\u00eb disa institucione, si Akademia e Arteve Ramallah, Akademie der K\u00fcnste, Berlin, Fondazione Pistoletto, Biella, Qendra Vizuale K\u00ebrkimore Dundee, Arkivi Komb\u00ebtar dhe administrimi i t\u00eb dh\u00ebnave n\u00eb Uashington. Bonizzi ka publikuar n\u00eb Gazet\u00ebn e Studimeve Flusser “\u00c7far\u00eb e legjitimon fotografin\u00eb?” dhe n\u00eb Katalogun Mauritious t\u00eb Bienales s\u00eb Venecias “Kur e ke kuptuar q\u00eb je: Mashkull. I bardh\u00eb. Europian.” P\u00ebrfundoi doktoratur\u00ebn e\u00a0financuar nga\u00a0AHCR, me tem\u00eb: “Kartograf\u00ebt: nj\u00eb praktik\u00eb e bazuar n\u00eb kujtes\u00eb, konflikt dhe imazhe t\u00eb ajrishme”. Puna e saj u kandidua nga AHCR si Puna K\u00ebrkimore m\u00eb e Mir\u00eb n\u00eb \u00c7mimin e Filmit. Bonizzi bashk\u00ebpunon me rrjetin e Migracionit t\u00eb Refugjat\u00ebve Azilk\u00ebrkues, DAAR (Palestin\u00eb), revist\u00ebn “Mnemoscape”, Akademin\u00eb e Arteve Free (ALA Group), Rom\u00eb.<\/p>\n

Dhoma e t\u00eb Fshehtave Publike (Chamber of Public Secrets)<\/strong> \u00ebsht\u00eb rrjet artist\u00ebsh,\u00a0kurator\u00ebsh e shkrimtar\u00ebsh q\u00eb\u00a0ofrojn\u00eb\u00a0nj\u00eb platform\u00eb t\u00eb\u00a0shprehjes artistike q\u00eb shkon p\u00ebrtej asaj q\u00eb njihet n\u00eb sken\u00ebn e artit bot\u00ebror.<\/p>\n

Si pasoj\u00eb e zhvillimeve politike n\u00eb bot\u00eb dhe t\u00ebrheqjes s\u00eb shumic\u00ebs s\u00eb heshtur intelektuale nga spektri shoq\u00ebror, p\u00ebr n\u00eb jet\u00ebn akademike, arti i motivuar shoq\u00ebrisht dhe politikisht \u00ebsht\u00eb b\u00ebr\u00eb forca l\u00ebviz\u00ebse pas praktikave kolektive t\u00eb\u00a0CPS.<\/p>\n

CPS e cil\u00ebson artin si agjent t\u00eb fuqizimit dhe p\u00ebrfshin shikuesit me prejardhje t\u00eb\u00a0ndryshme\u00a0dhe komunitete\u00a0t\u00eb\u00a0ndryshme. Fokusohet n\u00eb historin\u00eb e estetik\u00ebs vizuale, artit e kultur\u00ebs me interesa t\u00eb ndryshme n\u00eb fush\u00ebn e historis\u00eb sociale, k\u00ebrkimit shkencor dhe teoris\u00eb kritike. Angazhohet me hap\u00ebsir\u00ebn publike dhe m\u00ebnyr\u00ebn se si\u00a0e p\u00ebrdorin\u00a0njer\u00ebzit; v\u00eb\u00a0n\u00eb pik\u00ebpyetje\u00a0t\u00eb menduarit institucional, kontrollin e mendimit dhe frik\u00ebs\u00a0s\u00eb\u00a0shkaktuar nga autoriteti dhe m\u00ebnyrat e ngjalljes s\u00eb\u00a0autocensur\u00ebs te producent\u00ebt\u00a0kulturor\u00eb\u00a0si dhe apatin\u00eb socio-politike, si fenomen i p\u00ebrgjithsh\u00ebm publik.<\/p>\n

Hiperimazhi
\n<\/strong>Abstrakt<\/strong><\/p>\n

T\u00eb gjith\u00eb jemi t\u00eb p\u00ebrfshir\u00eb n\u00eb fotografi, na p\u00eblqen apo jo. N\u00ebse e lidhim k\u00ebt\u00eb gjuh\u00eb vizuale me nj\u00eb funksion t\u00eb sakt\u00eb, apo e p\u00ebrdorim p\u00ebr ta form\u00ebsuar veten si individ\u00eb dhe komunitete, ekzistenc\u00ebn ton\u00eb e tregtojm\u00eb n\u00eb imazhe. Iu referohemi imazheve dhe b\u00ebrjes s\u00eb tyre me veprime shoq\u00ebrore, politike dhe kulturore.<\/p>\n

Kategorit\u00eb e p\u00ebrcaktuara m\u00eb her\u00ebt n\u00eb t\u00eb cilat u nda, u praktikua, u kuptua dhe u diskutua fotografia jan\u00eb rikonfiguruar tashm\u00eb. Duket sikur shoq\u00ebria jon\u00eb e ka \u00e7liruar b\u00ebrjen e imazhit nga aplikacionet specifike t\u00eb artikuluara m\u00eb her\u00ebt, duke i turbulluar kufijt\u00eb midis zhanreve dhe funksioneve, p\u00ebr ta kthyer imazhin fotografik n\u00eb nj\u00eb subjekt t\u00eb lir\u00eb n\u00eb vetvete, t\u00eb shk\u00ebputur nga \u00e7do lidhje e ve\u00e7ant\u00eb me origjin\u00ebn e vet; at\u00eb q\u00eb un\u00eb e quaj \u201chiperimazhi’.<\/p>\n

Fotografia ka nj\u00eb fjalor me gjuh\u00eb as e shkruar e as verbale, por vizuale e digjitale. Duke p\u00ebrdorur kurimin e artit si metod\u00eb dhe duke nd\u00ebrtuar mbi struktur\u00ebn time t\u00eb m\u00ebparshme t\u00eb hulumtimit n\u00eb nd\u00ebrveprimin e ndikimin e nd\u00ebrsjell\u00eb mes pun\u00ebs artistike dhe mediatike (Gazetaria estetike: Si t\u00eb informosh pa informuar, Intelekt, 2009),<\/em> p\u00ebrpiqem t\u00eb kuptoj se si hyri fotografia n\u00eb mosh\u00ebn e saj t\u00eb pjekuris\u00eb dhe se si mund ta p\u00ebrdorim konceptin e hiperimazhit p\u00ebr t\u00eb kuptuar mosh\u00ebn ton\u00eb t\u00eb informacionit vizual.<\/p>\n

Si rikonfigurohen k\u00ebrkesat, vlerat e justifikimet e artist\u00ebve dhe autor\u00ebve pamor\u00eb n\u00ebp\u00ebrmjet hiperimazhit? Si veprojn\u00eb artist\u00ebt bashk\u00ebkohor\u00eb si p\u00ebrkthyes t\u00eb k\u00ebrkesave t\u00eb tilla nga nj\u00ebri kontekst n\u00eb tjetrin, n\u00eb vend q\u00eb t\u2019i p\u00ebrfaq\u00ebsojn\u00eb ato n\u00eb nj\u00eb kontekst t\u00eb vet\u00ebm?<\/p>\n

Anasjellas, si mundet q\u00eb mbar\u00eb \u201cepoka e medias\u201d, e cila thuajse nuk i njeh praktikat dhe qasjet e ndryshme vizuale, ta informoj\u00eb prodhimin kulturor, duke p\u00ebrfshir\u00eb kurimin, b\u00ebrjen dhe shfaqjen e ekspozit\u00ebs? P\u00ebrgjigjet e pyetjeve t\u00eb m\u00ebsip\u00ebrme mund t\u00eb zbulojn\u00eb se si ky moment fotografik n\u00eb historin\u00eb e b\u00ebrjes s\u00eb imazhit, shp\u00ebrndarjes, v\u00ebnies n\u00eb sken\u00eb dhe konsumimit t\u00eb tij, po e ndryshon organizimin, po ashtu dhe parimin e prodhimit t\u00eb krijimit pamor aktual e kulturor.<\/p>\n

Alfredo Cramerotti, 2016[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"

[vc_row][vc_column][vc_column_text]Vizioni i zgjeruar i Shqip\u00ebris\u00eb (ALBANIA EXPANDED IMAGE): Bised\u00eb me Z. ALFREDO CRAMEROTTI “Realitetet m\u00eb t\u00eb dukshme dhe t\u00eb p\u00ebrhapura ngado – e m\u00eb t\u00eb r\u00ebnd\u00ebsishmet gjithashtu, – jan\u00eb shpesh m\u00eb t\u00eb v\u00ebshtirat p\u00ebr t\u2019u par\u00eb e p\u00ebr t\u2019u komentuar…”,<\/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-2980","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/cod.al\/index.php?rest_route=\/wp\/v2\/pages\/2980","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=2980"}],"version-history":[{"count":2,"href":"https:\/\/cod.al\/index.php?rest_route=\/wp\/v2\/pages\/2980\/revisions"}],"predecessor-version":[{"id":2982,"href":"https:\/\/cod.al\/index.php?rest_route=\/wp\/v2\/pages\/2980\/revisions\/2982"}],"wp:attachment":[{"href":"https:\/\/cod.al\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2980"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}