{"id":3641,"date":"2018-04-11T11:28:28","date_gmt":"2018-04-11T10:28:28","guid":{"rendered":"http:\/\/cod.al\/?page_id=3641"},"modified":"2018-06-12T14:39:26","modified_gmt":"2018-06-12T13:39:26","slug":"ornela-vorpsi-holli-protokollar","status":"publish","type":"page","link":"https:\/\/cod.al\/?page_id=3641","title":{"rendered":"Ornela Vorpsi Holli Protokollar"},"content":{"rendered":"

[vc_row][vc_column][vc_single_image image=”3647″ img_size=”full” alignment=”center”][vc_column_text]PROVIDENCE<\/strong>
\n\u201cM\u00eb imagjino; un\u00eb s\u2019kam jet\u00eb, n\u00ebse ti nuk m\u00eb imagjinon.\u201d
\n<\/i><\/b>– Vladimir Nabokov, Lolita<\/i><\/p>\n

Vepra e Ornela Vorpsit n\u00eb artet pamore ka nj\u00eb gam\u00eb t\u00eb gjer\u00eb mediumesh, procesesh e q\u00ebndrimesh estetike, si dhe nj\u00eb num\u00ebr impresionues veprash t\u00eb forta, t\u00eb p\u00ebrqendruara, me t\u00eb cilat ajo nd\u00ebrton nj\u00eb trilogji narrative n\u00eb piktur\u00eb, fotografi dhe video, po aq t\u00eb fuqishme e identifikuese sa edhe vepra e saj si shkrimtare e tregimtare. N\u00ebp\u00ebrmjet tyre, Ornela Vorpsi specifikon edhe m\u00eb shum\u00eb diametrin e temave, p\u00ebrmes t\u00eb cilave ajo ka nd\u00ebrtuar tashm\u00eb kanonin e saj artistik prej rreth 20 vitesh: brisht\u00ebsia dhe fort\u00ebsia fem\u00ebrore; bukuria fizike si shqet\u00ebsim artistik; estetika si obsesion i pashmangsh\u00ebm; d\u00ebshtimi n\u00eb posedimin e vetes, tjetrit; pamund\u00ebsia e subjektives si etalon p\u00ebr matjen e s\u00eb p\u00ebrgjithshmes dhe ideja e trupit si foleja e jet\u00ebs, si nj\u00eb<\/p>\n

cilind\u00ebr n\u00ebn presionin e emocioneve. Vorpsi, edhe pse e njohur m\u00eb s\u00eb shumti p\u00ebr proz\u00ebn e saj t\u00eb shkruar fillimisht drejtp\u00ebrs\u00ebdrejti n\u00eb italisht, – e prej disa vitesh n\u00eb fr\u00ebngjisht, – ka formim t\u00eb plot\u00eb akademik n\u00eb artet pamore, fillimisht n\u00eb Tiran\u00eb dhe m\u00eb pas n\u00eb Brera, Milano. Narrativja dhe pamorja te Vorpsi jan\u00eb vazhdim i nj\u00ebra \u2013 tjetr\u00ebs; ato stimulojn\u00eb nj\u00ebra \u2013 tjetr\u00ebn dhe nuk mund t\u00eb ndahen dot.<\/p>\n

Vepra pamore e Vorpsit ka si themel bot\u00ebn sensuale, emocionale dhe n\u00eb kontrast me shumic\u00ebn e artit konceptual e bashk\u00ebkohor, shprehet p\u00ebrmes nj\u00eb strukture t\u00eb qart\u00eb e ritmi t\u00eb balancuar, duke dh\u00ebn\u00eb n\u00eb \u00e7do vep\u00ebr thell\u00ebsin\u00eb e nj\u00eb hap\u00ebsire t\u00eb dyfisht\u00eb \u2013 t\u00eb brendshme dhe t\u00eb jashtme. N\u00ebp\u00ebrmjet nj\u00eb gjuhe realiste, figurative, mediumeve t\u00eb thjeshta, primare, si vizatimi me laps e piktura n\u00eb vaj, dhe sidomos nj\u00eb forme klasike n\u00eb kompozim, Vorpsi p\u00ebrqendrohet intensivisht n\u00eb cil\u00ebsit\u00eb formale t\u00eb subjektit t\u00eb portretizuar, duke synuar hapjen e tyre drejt interpretimeve t\u00eb reja narrative dhe reflektimin mbi to nga nj\u00eb qasje humaniste, poetike. K\u00ebshtu, n\u00eb pun\u00ebn e saj krijuese bashkohen n\u00eb dukje dy parime t\u00eb kund\u00ebrta, poezia e piktur\u00ebs dhe nd\u00ebrtimi klasik i tablos\u00eb.<\/p>\n

N\u00ebse ka nj\u00eb surpriz\u00eb n\u00eb p\u00ebrballje me vepr\u00ebn e saj n\u00eb k\u00ebt\u00eb ekspozit\u00eb t\u00eb par\u00eb personale n\u00eb Shqip\u00ebri, q\u00eb pas largimit prej m\u00eb shum\u00eb se nj\u00eb \u00e7erekshekulli m\u00eb par\u00eb n\u00eb Itali n\u00eb 1991, \u00ebsht\u00eb ajo q\u00eb vepra e saj n\u00eb arte pamore k\u00ebtu i shmanget me sukses turbulencave politiko-historike shqiptare, p\u00ebr t\u00eb cilat shquhen romanet e saj. Por kjo vjen se vepra pamore e Vorpsit nuk ka t\u00eb b\u00ebj\u00eb specifikisht me ide t\u00eb p\u00ebrgjithshme, t\u00eb m\u00ebdha, historike, pasi ato duken t\u00eb pamundura p\u00ebr t\u00eb gjeneruar kureshtje t\u00eb mjaftueshme tek ajo. Vorpsi, ashtu si t\u00eb gjith\u00eb artist\u00ebt e mir\u00eb, dep\u00ebrtues, \u00ebsht\u00eb e interesuar te vizioni i ve\u00e7ant\u00eb, n\u00eb holl\u00ebsit\u00eb e vogla, sidomos n\u00eb djallin e vog\u00ebl q\u00eb banon n\u00eb sht\u00ebpin\u00eb e detajeve fine, n\u00eb ato gj\u00ebra q\u00eb kan\u00eb nj\u00eb fund (me pak fjal\u00eb, n\u00eb t\u00eb vdekshmen), n\u00eb t\u00eb par\u00ebnd\u00ebsishmen, n\u00eb momentalen dhe kalimtaren. Ashtu si Nabokovi, me t\u00eb cilin ajo ndan shum\u00eb, vepra e saj na thot\u00eb dhe na konfirmon edhe nj\u00eb her\u00eb: \u201cRealiteti nuk \u00ebsht\u00eb as subjekt, as objekt i artit t\u00eb v\u00ebrtet\u00eb; arti i v\u00ebrtet\u00eb krijon realitetin e tij t\u00eb ve\u00e7ant\u00eb q\u00eb nuk ka t\u00eb b\u00ebj\u00eb fare me \u201crealitetin\u201d e p\u00ebrgjithsh\u00ebm t\u00eb perceptuar nga syri mesatar\u201d.<\/i> N\u00eb koherenc\u00eb me k\u00ebt\u00eb maksim\u00eb, n\u00eb vepr\u00ebn e saj vizuale Vorpsi shfaq nj\u00eb kontroll t\u00eb plot\u00eb mbi materien e zgjedhur si p\u00ebrmbajtje dhe si trajtim.<\/p>\n

Autoportretet e Vorpsit n\u00eb piktur\u00eb jan\u00eb disa prej veprave m\u00eb t\u00eb mira t\u00eb artistes. N\u00eb to, retrospektiva, introspektiva dhe perspektiva shkrijn\u00eb kufijt\u00eb e secil\u00ebs nga pik\u00ebpamja formale dhe formojn\u00eb nj\u00eb mas\u00eb emotive turbulence emocionale, duke reflektuar me habi dhe melankoli n\u00eb zbulimin e vet\u00eb vizionit q\u00eb i krijon. Transformimi i fytyr\u00ebs s\u00eb saj n\u00eb nj\u00eb seri metaformozash, her\u00eb si mace e her\u00eb si nj\u00eb kafsh\u00eb e p\u00ebrgjakur, tregon se artistja k\u00ebrkon t\u00eb nxjerr\u00eb nga thell\u00ebsit\u00eb ende t\u00eb pashprehura emocionale t\u00eb saj d\u00ebshir\u00ebn p\u00ebr ikje dhe arrati nga vetja, si nj\u00eb mekaniz\u00ebm \u00e7lirues psikologjik, por edhe si nj\u00eb m\u00ebnyr\u00eb p\u00ebr t\u00eb jetuar p\u00ebrtej standardit njer\u00ebzor (macet, n\u00eb folklorin e shum\u00eb popujve kan\u00eb m\u00eb shum\u00eb se nj\u00eb jet\u00eb; nga gjasht\u00eb deri n\u00eb n\u00ebnt\u00eb). Autoportretet e saj nuk n\u00ebnkuptojn\u00eb aq shum\u00eb pranin\u00eb e dyshimit ekzistencial, pakuptimshm\u00ebrin\u00eb e jet\u00ebs dhe kalimin e koh\u00ebs, por hutimin absolut para fenomenit jet\u00eb. K\u00ebtu, n\u00eb autoportretet e Vorpsit, Superegoja, Egoja dhe Id-i takohen n\u00eb sip\u00ebrfaqen e planit piktorik, me habi n\u00eb ekzistenc\u00ebn e nj\u00ebri-tjetrit. Q\u00eb \u00ebsht\u00eb habia e secilit prej nesh para nj\u00eb fytyre, para nj\u00eb pasqyre. Apo ashtu si do t\u00eb shprehej Carlo Levi \u201cmelankolia klasike, e dhimbshme e t\u00eb jetuarit n\u00eb koh\u00ebn ton\u00eb.\u201d<\/i><\/p>\n

Cikli \u2018Sh\u00ebtitje\u2019 <\/i>tregon p\u00ebrmes skenash t\u00eb thjeshta p\u00ebrditshm\u00ebrie p\u00ebr lidhjen bab\u00eb-bij\u00eb, p\u00ebr momente q\u00eb secili shkul nga trungu i t\u00eb zakonshmes dhe i kthen n\u00eb nj\u00eb ditar personal vizual ekzistencial. Personazhet e tablove k\u00ebtu, i shoqi dhe e bija, nuk pozojn\u00eb, nuk ngrijn\u00eb n\u00eb momente dometh\u00ebn\u00ebse, por vazhdojn\u00eb jet\u00ebn normalisht.<\/p>\n

Ashtu si Pierre Bonnard (me t\u00eb cilin Ornela Vorpsi ndan shum\u00eb) q\u00eb pikturonte Mart\u00ebn, t\u00eb shoqen, pafund\u00ebsisht, ashtu dhe Vorpsi, tek e zakonshmja, tek e p\u00ebrditshmja gjen piktoriken, artistiken. Artistja e pohon dhe vet\u00eb k\u00ebt\u00eb q\u00ebndrim, kur thot\u00eb: \u201cKrijimi im artistik ka nevoj\u00eb t\u00eb g\u00ebrmoj\u00eb n\u00eb thell\u00ebsit\u00eb e shpirtit njer\u00ebzor. Subjektet e mia t\u00eb momentit jan\u00eb fytyrat, trupat. Observoj n\u00ebp\u00ebrmjet piktur\u00ebs, si ato \u00abulen\u00bb n\u00eb k\u00ebt\u00eb eksiztenc\u00eb \u00abjoevidente\u00bb.\u201d<\/i> Po t\u00eb parafrazojm\u00eb Kimmelman kur shkruan p\u00ebr Bonnard, ky q\u00ebndrim \u201d… provon se nj\u00eb bot\u00eb e kufizuar mund t\u00eb duket e jasht\u00ebzakonshme, e par\u00eb p\u00ebrmes nj\u00eb imagjinate t\u00eb pasur.\u201d<\/p>\n

Fotografia \u00ebsht\u00eb nj\u00eb nga mediumet me t\u00eb cilat Vorpsi ka nj\u00eb lidhje organike. P\u00ebrmes ciklesh t\u00eb plota, duke nisur q\u00eb nga \u2018Nothing Obvious\u2019 <\/i>(2001), e m\u00eb von\u00eb, Vorpsi, te kamera fotografike ka gjetur nj\u00eb medium n\u00ebp\u00ebrmjet t\u00eb cilit shfaq nj\u00eb an\u00eb tjet\u00ebr t\u00eb instinktit t\u00eb saj krijues, por edhe nj\u00eb mekaniz\u00ebm shtes\u00eb n\u00eb krijimin e autoportretit t\u00eb saj, poliedrik dhe t\u00eb shum\u00ebshtrez\u00ebsuar, nj\u00eb pen\u00eb t\u00eb re, me t\u00eb cil\u00ebn ajo shkruan vizualisht. Imazhet e saj, n\u00eb shumic\u00ebn d\u00ebrrmuese tregojn\u00eb femra nudo, ku trupi \u00ebsht\u00eb pjes\u00ebrisht ose gati krejt\u00ebsisht n\u00eb hije e, p\u00ebrmes imazheve q\u00eb duket sikur jetojn\u00eb nd\u00ebrmjet \u00ebndrr\u00ebs dhe realitetit, shfaqin bukuri fizike gati ideale. Mir\u00ebpo, fuqia e pun\u00ebs s\u00eb saj q\u00ebndron pik\u00ebrisht te disonanca, ku fokusi \u00ebsht\u00eb realisht jo truporja dhe fizikja e p\u00ebrkryer, por dhimbja shpirt\u00ebrore q\u00eb nuk ka as em\u00ebr dhe as sh\u00ebrim.<\/p>\n

Dhe nga kjo pozit\u00eb strategjike si krijuese dhe demiurge Vorpsi p\u00ebrpiqet t\u00eb sh\u00ebroj\u00eb trupin, njeriun, shpirtin, sado i vrazhd\u00eb e i mbushur me padrejt\u00ebsi dhe absurditet t\u00eb jet\u00eb realiteti.<\/p>\n

Genti Gjikola<\/strong>
\nMars 2018[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]

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

[vc_row][vc_column][vc_single_image image=”3647″ img_size=”full” alignment=”center”][vc_column_text]PROVIDENCE \u201cM\u00eb imagjino; un\u00eb s\u2019kam jet\u00eb, n\u00ebse ti nuk m\u00eb imagjinon.\u201d – Vladimir Nabokov, Lolita Vepra e Ornela Vorpsit n\u00eb artet pamore ka nj\u00eb gam\u00eb t\u00eb gjer\u00eb mediumesh, procesesh e q\u00ebndrimesh estetike, si dhe nj\u00eb num\u00ebr impresionues<\/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-3641","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/cod.al\/index.php?rest_route=\/wp\/v2\/pages\/3641","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=3641"}],"version-history":[{"count":7,"href":"https:\/\/cod.al\/index.php?rest_route=\/wp\/v2\/pages\/3641\/revisions"}],"predecessor-version":[{"id":4184,"href":"https:\/\/cod.al\/index.php?rest_route=\/wp\/v2\/pages\/3641\/revisions\/4184"}],"wp:attachment":[{"href":"https:\/\/cod.al\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3641"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}