{"id":2404,"date":"2025-07-17T12:22:00","date_gmt":"2025-07-17T12:22:00","guid":{"rendered":"https:\/\/ejalbum.com\/ejalbum3\/?p=2404"},"modified":"2026-02-27T10:01:17","modified_gmt":"2026-02-27T10:01:17","slug":"pressura-2025-2","status":"publish","type":"post","link":"https:\/\/ejalbum.com\/sq\/pressura-2025-2\/","title":{"rendered":"PRESSURA 2025"},"content":{"rendered":"

SHOT \/ REVERSE SHOT<\/em> <\/strong>\/ Nj\u00eb Dialog mes V\u00ebshtrimit, Kujtes\u00ebs dhe Koh\u00ebs<\/p>\n\n\n\n

Kurim i edicionit t\u00eb tret\u00eb t\u00eb PRESSURA \u2013 A Nomadic Art Colony
GOCAT Gallery, Tirana | 2025<\/em><\/p>\n\n\n\n

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N\u00eb kinematografi, teknika shot\/reverse shot<\/strong><\/em> nd\u00ebrton iluzionin e dialogut. Nj\u00eb personazh v\u00ebshtron. Tjetri p\u00ebrgjigjet. V\u00ebshtrimet e tyre nuk takohen, por \u00ebsht\u00eb ky \u00e7ast i prer\u00eb q\u00eb i nd\u00ebrmjet\u00ebson. Pik\u00ebrisht n\u00eb k\u00ebt\u00eb hap\u00ebsir\u00eb \u200b\u200bt\u00eb padukshme, kuptimi merr form\u00eb. Kjo ekspozit\u00eb paraqet nj\u00eb bised\u00eb t\u00eb till\u00eb, jo n\u00eb trillim, por n\u00eb materialin e brisht\u00eb t\u00eb kujtes\u00ebs historike. Shkrepje vizuale q\u00eb komunikojn\u00eb me shkrepje vizuale. P\u00ebrs\u00ebri, e p\u00ebrs\u00ebri.<\/p>\n\n\n\n

N\u00eb vitet 1990 dhe 1991, fotografi britanik Barry Lewis hyri n\u00eb Shqip\u00ebri gjat\u00eb nj\u00eb prej periudhave m\u00eb komplekse dhe m\u00eb t\u00eb err\u00ebta t\u00eb tranzicionit politik n\u00eb Evrop\u00eb. Muri i Berlinit kishte r\u00ebn\u00eb, por Shqip\u00ebria mbeti e ngrir\u00eb n\u00eb koh\u00eb – fortesa e fundit e izolimit stalinist, e izoluar p\u00ebr dekada edhe nga vendet komuniste t\u00eb Lindjes, p\u00ebrve\u00e7 nj\u00eb periudhe t\u00eb shkurt\u00ebr t\u00eb trash\u00ebgimis\u00eb kineze. Shqip\u00ebria ishte e rezervuar ndaj t\u00eb huajve, alergjike ndaj fotografis\u00eb, p\u00ebrve\u00e7 propagand\u00ebs dhe kok\u00ebfort\u00eb ndaj ndryshimit. I maskuar si arkeolog, Lewis kaloi vendin me kamer\u00ebn e tij gjysm\u00eb t\u00eb fshehur. Fotografit\u00eb e tij, t\u00eb botuara si \u2018Shqip\u00ebria n\u00eb Izolim\u2019 dhe \u2018Shqip\u00ebria n\u00eb Tranzicion\u2019, nuk jan\u00eb thjesht dokumentime. Ato jan\u00eb d\u00ebshmi vizuale t\u00eb nj\u00eb vendi t\u00eb cop\u00ebzuar.<\/p>\n\n\n\n


M\u00eb shum\u00eb se tridhjet\u00eb vjet m\u00eb von\u00eb, Lewis kthehet, jo vet\u00ebm personalisht, por edhe n\u00ebp\u00ebrmjet imazheve, e kjo ekspozit\u00eb shnd\u00ebrrohet n\u00eb nj\u00eb hap\u00ebsir\u00eb ku shikimi i tij takon v\u00ebshtrimet e individ\u00ebve q\u00eb e trash\u00ebguan at\u00eb \u00e7ast. N\u00ebse puna e Lewis \u00ebsht\u00eb shkrepja fillestare, kjo ekspozit\u00eb nd\u00ebrton shkrepjen e kund\u00ebrt p\u00ebrmes pik\u00ebpamjeve t\u00eb fotograf\u00ebve dhe regjisor\u00ebve bashk\u00ebkohor\u00eb shqiptar\u00eb. Imazhet e tyre nuk lindin nga jasht\u00eb, por nga brenda. K\u00ebto nuk jan\u00eb p\u00ebrgjigje t\u00eb drejtp\u00ebrdrejta, por jan\u00eb manifeste vizuale, t\u00eb rr\u00ebnjosura n\u00eb kujtes\u00ebn personale, thyerjen shoq\u00ebrore dhe reflektimin etik.<\/p>\n\n\n\n

R\u00ebnia e komunizmit n\u00eb Shqip\u00ebri nuk ishte nj\u00eb fund i qart\u00eb p\u00ebr vet\u00eb faktin se rruga drejt demokracis\u00eb ka qen\u00eb e ngadalt\u00eb, e brisht\u00eb dhe e pap\u00ebrfunduar. Fotografit\u00eb e Lewis kapin cop\u00ebzimet e para duke na kujtuar se detyra e artistit n\u00eb dit\u00ebt e sotme \u00ebsht\u00eb t\u00eb fotografoj\u00eb at\u00eb q\u00eb ende mbetet e paplot\u00eb.<\/p>\n\n\n\n

Kjo ekspozit\u00eb nuk \u00ebsht\u00eb thjesht\u00eb qasje historike, por nj\u00eb d\u00ebshmi ende n\u00eb zhvillim e sip\u00ebr duke v\u00ebrtetuar se puna e Lewis ka vler\u00eb t\u00eb jasht\u00ebzakonshme antropologjike. Ai fotografon jo p\u00ebr t\u00eb ekspozuar, por p\u00ebr t\u00eb v\u00ebzhguar, p\u00ebr t\u00eb zbuluar dinjitetin, ritualin dhe q\u00ebndrueshm\u00ebrin\u00eb. Kjo ekspozit\u00eb e riaktivizon at\u00eb v\u00ebshtrim jo p\u00ebr t\u00eb konservuar t\u00eb kaluar\u00ebn, por p\u00ebr t\u00eb shtruar pyetjen: \u00c7far\u00eb mbetet?<\/p>\n\n\n\n

\u201cShot \/ Reverse Shot\u201d krijon gjithashtu nj\u00eb hap\u00ebsir\u00eb \u200b\u200bp\u00ebr brezat e rinj, \u200b\u200bata t\u00eb lindur pas diktatur\u00ebs, t\u00eb huajt pa njohuri p\u00ebr t\u00eb kaluar\u00ebn e Shqip\u00ebris\u00eb, artist\u00ebt q\u00eb m\u00ebsojn\u00eb jo vet\u00ebm si t\u00eb tregojn\u00eb, por edhe pse kjo. Kjo ekspozit\u00eb na kujton se fotografia nuk \u00ebsht\u00eb vet\u00ebm dokumentim, por nj\u00eb forc\u00eb q\u00eb mund t\u00eb nd\u00ebrtoj\u00eb kujtes\u00eb, t\u00eb zgjoj\u00eb empati dhe t\u00eb shkaktoj\u00eb ndryshim.<\/p>\n\n\n\n

N\u00eb epok\u00ebn e tepric\u00ebs s\u00eb imazhit, kjo ekspozit\u00eb na th\u00ebrret t\u00eb kthehemi te v\u00ebshtrimi etik, i ngadalt\u00eb, i vet\u00ebdijsh\u00ebm, relacional. Nuk \u00ebsht\u00eb nj\u00eb korniz\u00eb e mbyllur, por nj\u00eb lak i hapur kujtese, d\u00ebshmie dhe reagimi.<\/p>\n\n\n\n

Nj\u00eb bised\u00eb q\u00eb ende nuk ka p\u00ebrfunduar t\u00eb rr\u00ebfej\u00eb!<\/p>\n\n\n\n

Tekst nga<\/em>: Elton Koritari<\/em><\/p>\n\n\n\n

Shtypi rreth ekspozit\u00ebs: Shot\/Revese short “Gocat” sjell ekspozit\u00ebn q\u00eb sheh drejt e n\u00eb sy<\/a><\/a><\/p>\n\n\n\n

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Behind The Veil<\/h1>\n\n\n\n

Shqip\u00ebria gjate izolimit dhe tranzicionit<\/h5>\n\n\n\n

Barry Lewis<\/h2>\n\n\n\n

Ja, ku u rikthyen n\u00eb Ballkan,<\/em><\/p>\n\n\n\n

U rikthyem n\u00eb dhimbje e har\u00e9,<\/em><\/p>\n\n\n\n

Po sikur zjarri t\u00eb na p\u00ebrc\u00eblloj\u00eb, era t\u00eb na marr\u00eb, d\u00ebbora t\u00eb na z\u00ebr\u00eb?<\/em><\/p>\n\n\n\n

Rikthyer jemi n\u00eb Ballkan.<\/em><\/p>\n\n\n\n

Aty ku e nes\u00ebrmja mund t\u00eb t\u00eb vras\u00eb,<\/em><\/p>\n\n\n\n

Me nj\u00eb vrim\u00eb n\u00eb zem\u00ebr, a nj\u00eb top n\u00eb kok\u00eb,<\/em><\/p>\n\n\n\n

Aty ku pasionet jan\u00eb t\u00eb vrullshme e gjakndezura.<\/em><\/p>\n\n\n\n

Ja, q\u00eb n\u00eb Ballkan, jemi rikthyer.<\/em><\/p>\n\n\n\n

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N\u00eb vitet 1970, bashk\u00eb me gjysm\u00ebn e brezit tim, besoja se socializmi ishte rruga e s\u00eb ardhmes ndaj nd\u00ebrmora disa udh\u00ebtime fotografike n\u00eb Bashkimin Sovjetik, Kub\u00eb, Gjermanin\u00eb Lindore dhe Rumani. \u00c7udit\u00ebrisht, shteti q\u00eb m\u00eb t\u00ebrhoqi m\u00eb shum\u00eb, pa e vizituar ende, ishte Shqip\u00ebria. Tregimet p\u00ebr nj\u00eb vend t\u00eb mbyllur, q\u00eb ndiqte nj\u00eb rrug\u00eb t\u00eb izoluar staliniste t\u00eb socializmit, m\u00eb pas kthimin e shpin\u00ebs ndaj bllokut lindor dhe p\u00ebrqafimin e maoizmit, gjithmon\u00eb kishte ndezur imagjinat\u00ebn time. Murmurima dhe zhurma e Radio Tiran\u00ebs me komentet monotone dhe p\u00ebrzierja e muzik\u00ebs luftarake e popullore m\u00eb ngjallnin vizione t\u00eb nj\u00eb toke sekrete pas maleve t\u00eb mbuluara me mjegull. Ekstremet e vizionit kapitalist t\u00eb mish\u00ebruara nga \u201cZ\u00ebri i Amerik\u00ebs\u201d kishin humbur \u00e7do t\u00ebrheqje p\u00ebr mua dhe nj\u00eb vend sekret q\u00eb ndalonte mjekrat, pornografin\u00eb, amerikan\u00ebt dhe adhuronte Norman Wisdom-in m\u00eb t\u00ebrhiqte p\u00ebr ta vizituar.<\/p>\n\n\n\n

N\u00eb vitin 1990 u bashkova me nj\u00eb grup prej dymb\u00ebdhjet\u00eb personash, t\u00eb p\u00ebrb\u00ebr\u00eb nga spiun\u00eb, turist\u00eb, gazetar\u00eb, nj\u00eb fermer\u00eb n\u00eb pension, nj\u00eb botanist dhe nj\u00eb muzikant rrok-u, n\u00eb nj\u00eb \u201ctur studimor arkeologjik\u201d. T\u00eb gjith\u00eb bashk\u00eb dinim rreth kat\u00ebr fjal\u00eb shqip, kishim nj\u00eb fjalor t\u00eb viteve 1960 dhe shum\u00eb frik\u00eb, sidomos pasi koha e vizit\u00ebs erdhi menj\u00ebher\u00eb pas r\u00ebnies s\u00eb murit t\u00eb Berlinit dhe luftimet sapo kishin filluar n\u00eb Kosov\u00eb. Na \u00e7uan nga kooperativa n\u00eb komun\u00eb, d\u00ebgjuam k\u00ebng\u00ebtar\u00eb popullor\u00eb tradicional\u00eb dhe si finale madh\u00ebshtore vizituam fabrik\u00ebn shtet\u00ebrore t\u00eb traktor\u00ebve Enver Hoxha (pa traktor\u00eb). Midis rreshtave, megjithat\u00eb, mund t\u00eb shihnim nj\u00eb vend n\u00eb agoni. Njer\u00ebzit flisnin me z\u00eb t\u00eb ul\u00ebt net\u00ebve p\u00ebr demonstrata dhe trazira, duke b\u00ebr\u00eb pafund pyetje p\u00ebr Per\u00ebndimin dhe… Norman Wisdom-in.<\/p>\n\n\n\n

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Shtypi rreth ekspozit\u00ebs: Barry Lewis: Ja si hyri n\u00eb Shqip\u00ebri n\u00eb 1990 v\u00ebllai i Mick Jager!<\/a><\/p>\n\n\n\n

Ne ishim nj\u00eb nga grupet e pakta q\u00eb vizituam Shkodr\u00ebn dhe b\u00ebm\u00eb nj\u00eb udh\u00ebtim t\u00eb kufizuar n\u00eb veri ku, n\u00eb malet e paarritshme, nj\u00eb m\u00ebnyr\u00eb jetese kishte rezistuar kat\u00ebr dekada shtypjeje. K\u00ebtu n\u00eb k\u00ebto lart\u00ebsi t\u00eb izoluara, jeta fshatare dhe fisnore bazohej n\u00eb Kanun, nj\u00eb s\u00ebr\u00eb kodesh e rregullash t\u00eb rrepta q\u00eb nga koh\u00ebt mesjetare, bazuar n\u00eb nder dhe gjak. Interesi im u zgjua, ushqyer nga fantazia dhe leximi i kujtimeve t\u00eb Edith Durhamit p\u00ebr jetes\u00ebn me “Mal\u00ebsor\u00ebt” n\u00eb librin e saj, \u2018High Albania\u2019. \u00f9<\/p>\n\n\n\n

Presidenti Hoxha vdiq n\u00eb vitin 1985 dhe n\u00eb nj\u00eb val\u00eb trazirash q\u00eb sinjalizuan fundin e shtetit nj\u00eb-partiak, statuja e tij u rr\u00ebzua m\u00eb 21 shkurt 1991. U riktheva n\u00eb Shqip\u00ebri me shkrimtarin Ian Thompson n\u00eb mars nd\u00ebrsa bora e maleve shkrinte dhe ishte e munduar hyrja n\u00eb malet veriore. Zona kishte qen\u00eb e mbyllur p\u00ebr t\u00eb huajt p\u00ebr kat\u00ebr dekada pasi kontrolli i partis\u00eb s\u00eb Hoxh\u00ebs kishte hasur probleme t\u00eb v\u00ebrteta me popullsin\u00eb jasht\u00ebzakonisht t\u00eb pavarur t\u00eb rajonit. Udh\u00ebtimi, k\u00ebt\u00eb her\u00eb, ishte m\u00eb mir\u00eb i organizuar. Domosdoshm\u00ebrisht. Vendi ishte n\u00eb kaos dhe lundrimi n\u00eb rrug\u00ebt e v\u00ebshtira, zem\u00ebrimi dhe krimi ishin nj\u00eb kujtes\u00eb konstante e jet\u00ebs si\u00e7 kishte qen\u00eb. <\/p>\n\n\n\n

Ne qem\u00eb me fat q\u00eb ishim nd\u00ebr t\u00eb par\u00ebt per\u00ebndimor\u00eb q\u00eb takuam njer\u00ebzit bujar\u00eb t\u00eb maleve, t\u00eb cil\u00ebt na mor\u00ebn n\u00eb sht\u00ebpit\u00eb e tyre dhe na ushqyen, pavar\u00ebsisht mungesave t\u00eb m\u00ebdha q\u00eb kishin. Njer\u00ebzit ndiqnin ligjin e tyre “Sht\u00ebpia jon\u00eb i p\u00ebrket Zotit dhe mikut” dhe ne ishim gjithmon\u00eb n\u00ebn mbrojtjen e mikprit\u00ebsit ku na u ofrua ushqim dhe shoq\u00ebri e hijshme. Kur ishim d\u00ebshmitar\u00eb t\u00eb nj\u00eb ceremonie mortore d\u00ebshp\u00ebruese p\u00ebr nj\u00eb t\u00eb ri n\u00eb fshatin Kalimash, lart n\u00eb male, jo vet\u00ebm q\u00eb lejuan nj\u00eb t\u00eb huaj t\u00eb fotografonte nj\u00eb ritual t\u00eb dhimbsh\u00ebm dhe thell\u00ebsisht personal, por na \u00e7uan dhe n\u00eb sht\u00ebpin\u00eb e t\u00eb atit ku na u dhan\u00eb ushqime n\u00eb form\u00eb dhurate me fjal\u00ebt: \u201cNa vjen shum\u00eb keq. \u00cbsht\u00eb zakoni yn\u00eb t\u00eb vendosim nj\u00eb dele t\u00eb pjekur mbi tryez\u00eb para mysafir\u00ebve. Por ne nuk kemi m\u00eb mund\u00ebsi.\u201d <\/p>\n\n\n\n

Evropa po ndryshonte me nj\u00eb rit\u00ebm t\u00eb papar\u00eb, p\u00ebrmes teknologjis\u00eb dhe l\u00ebvizjes s\u00eb lir\u00eb t\u00eb njer\u00ebzve, kjo qoshe e Ballkanit po kalonte nga nj\u00eb shoq\u00ebri e mbyllur, plot sekrete t\u00eb err\u00ebta dhe trim\u00ebri t\u00eb fort\u00eb, n\u00eb udh\u00ebtimin e v\u00ebshtir\u00eb drejt nj\u00eb fillimi t\u00eb ri. Shpresoj q\u00eb k\u00ebto pun\u00eb t’i nderojn\u00eb k\u00ebta njer\u00ebz!”<\/p>\n\n\n\n

Shtypi rreth ekspozit\u00ebs: Nj\u00eb Dritare Ndaj Kujtes\u00ebs \u2013 Ekspozita: \u201cShot \/ Reverse Shot\u201d \u2013 Barry Lewis<\/a><\/p>\n\n\n\n

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Veset e Komunizmit<\/h1>\n\n\n\n

Koloreto Cukali & Dritan Mesareja<\/h2>\n\n\n\n

“N\u00eb nj\u00eb bot\u00eb shum\u00eb t\u00eb ngjashme me Koren\u00eb e Veriut t\u00eb sotme, n\u00eb Shqip\u00ebrin\u00eb Socialiste, gjith\u00e7ka duhet t\u00eb ishte perfekte: nj\u00eb formulim i p\u00ebrditshm\u00ebris\u00eb s\u00eb shoq\u00ebris\u00eb komuniste. Nj\u00eb bot\u00eb e err\u00ebt q\u00eb as nuk pranohet dhe as nuk raportohet nga makina e propagand\u00ebs. Deri tani!<\/strong><\/em><\/p>\n\n\n\n

Shqip\u00ebria kishte nj\u00eb ndryshim t\u00eb ve\u00e7ant\u00eb n\u00eb krahasim me pjes\u00ebn tjet\u00ebr t\u00eb vendeve komuniste lindore: nj\u00eb diktator paranojak si Enver Hoxha. Hoxha nd\u00ebrtoi nj\u00eb makin\u00eb propagande jasht\u00ebzakonisht efikase dhe nj\u00eb polici sekrete t\u00eb frikshme (Sigurimi), e cila gjat\u00eb 45 viteve t\u00eb mbret\u00ebrimit t\u00eb tij shtypi fen\u00eb, t\u00eb drejt\u00ebn e nj\u00eb avokati, \u00e7do lloj mendimi ndryshe, p\u00ebrve\u00e7 t\u00eb tijit. Ai u zotua t\u00eb nd\u00ebrtonte nj\u00eb shoq\u00ebri t\u00eb lir\u00eb nga t\u00eb gjitha veset e kapitalizmit: t\u00eb lir\u00eb nga droga, prostitucioni, krimi, pornografia, abuzuesit seksual\u00eb, homoseksual\u00ebt, bixhozi i paligjsh\u00ebm, abortet, etj. Pikturat nudo konsideroheshin imorale, madje edhe puthjet konsideroheshin gjeste seksuale p\u00ebr makin\u00ebn e propagand\u00ebs, k\u00ebshtu q\u00eb ato u p\u00ebrjashtuan edhe nga filmat e pakt\u00eb t\u00eb huaj q\u00eb arrinin tek audienca shqiptare. N\u00eb sip\u00ebrfaqe, kjo ishte nj\u00eb shoq\u00ebri e qet\u00eb ku nuk ndodhte asgj\u00eb. Asnj\u00eb krim nuk raportohej kurr\u00eb. Asnj\u00eb devijim seksual nuk ndodhte kurr\u00eb. Nuk ekzistonin homoseksual\u00eb. Asnj\u00eb abort. Prostitutat nuk u shfaq\u00ebn kurr\u00eb n\u00eb lajme. Askush nuk e dinte se \u00e7far\u00eb ishin drogat – propaganda e b\u00ebri Coca Cola-n t\u00eb njihej si nj\u00eb drog\u00eb e keqe kapitaliste. \u00c7do qytetar dukej se b\u00ebnte nj\u00eb jet\u00eb “t\u00eb past\u00ebr”: mbaroje shkoll\u00ebn, shkoje n\u00eb ushtri, martoheshe, gjeje nj\u00eb pun\u00eb, b\u00ebje f\u00ebmij\u00eb, nuk nd\u00ebrroje kurr\u00eb qytet pasi kishe gjetur nj\u00eb pun\u00eb, derisa t\u00eb vdisje. Megjithat\u00eb, n\u00ebn tok\u00eb, gjith\u00e7ka ndodhte. P\u00ebrmes historive t\u00eb rind\u00ebrtuara, d\u00ebshmive t\u00eb v\u00ebrteta dhe dokumenteve t\u00eb arkivuara, pjesa m\u00eb e madhe e k\u00ebsaj cop\u00ebze t\u00eb fshehur t\u00eb Shqip\u00ebris\u00eb Socialiste del n\u00eb drit\u00eb. Njer\u00ebz t\u00eb zakonsh\u00ebm, oficer\u00eb t\u00eb policis\u00eb sekrete dhe aparatit t\u00eb partis\u00eb sjellin n\u00eb jet\u00eb sekrete t\u00eb varrosura shum\u00eb koh\u00eb m\u00eb par\u00eb, t\u00eb cilat nuk u b\u00ebn\u00eb kurr\u00eb publike ose nuk u pranuan se ekzistonin.<\/p>\n\n\n\n


Tekst nga:<\/em> Koloreto Cukali<\/strong><\/em><\/p>\n\n\n\n

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Shtypi rreth ekspozit\u00ebs: “Reverse Shot”, kur fotografia kthehet n\u00eb nj\u00eb dialog vizual<\/a><\/p>\n\n\n\n

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Washing Ideologies<\/h1>\n\n\n\n

Kristanja \u00c7ene<\/h2>\n\n\n\n

Ideologjit\u00eb nuk pastrohen leht\u00ebsisht \u2014 as me sapun, as me histori. N\u00eb videon \u201cDuke Lar\u00eb Ideologjit\u00eb\u201d, Kristanja \u00c7ene zhytet n\u00eb plot kuptimin e fjal\u00ebs, n\u00eb rr\u00ebnojat e megalomanis\u00eb industriale t\u00eb Shqip\u00ebris\u00eb: Metalurgjiku i Elbasanit. Artistja, n\u00eb nj\u00eb akt n\u00eb gjysm\u00eb t\u00eb rrug\u00ebs midis provokimit dhe ritualit, lahet me mbetjet simbolike t\u00eb s\u00eb kaluar\u00ebs, duke fshir\u00eb trillimet e trash\u00ebguara. N\u00ebse Barry Lewis dokumentoi sip\u00ebrfaqen e nj\u00eb Shqip\u00ebrie n\u00eb r\u00ebnie, \u00c7ene zhytet drejtp\u00ebrdrejt n\u00eb ndryshkun e saj psikologjik, duke na kujtuar se pas r\u00ebnies, dikush ende duhet t\u00eb pastroj\u00eb vask\u00ebn.<\/em><\/p>\n\n\n\n

Tekst nga:<\/em> Elton Koritari<\/strong><\/em><\/p>\n\n\n\n

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Broken Marble<\/h1>\n\n\n\n

Roland Tasho<\/h2>\n\n\n\n

Rezulton se nd\u00ebrtimi i nj\u00eb diktature nga mermeri solid ishte nj\u00eb vendim i mir\u00ebfillt\u00eb. Fotografia e Roland Tashos p\u00ebrjet\u00ebson nj\u00eb moment nga viti 1991, kur statujat e Shqip\u00ebris\u00eb ran\u00eb, por jo leht\u00ebsisht. Nd\u00ebrsa djali n\u00eb foto, i quajtur Lleshi, ngjitet mbi statuj\u00ebn kolosale t\u00eb Enver Hoxh\u00ebs brenda Piramid\u00ebs, me \u00e7eki\u00e7 dhe dalt\u00eb n\u00eb dor\u00eb, mjetet e vjetra t\u00eb pun\u00ebtor\u00ebve rezultojn\u00eb t\u00eb padobishme. U desh nj\u00eb sharr\u00eb elektrike p\u00ebr t\u00eb mposhtur arroganc\u00ebn e l\u00ebmuar t\u00eb regjimit. Aty ku Barry Lewis fokusoi kaosin e nj\u00eb kombi n\u00eb r\u00ebnie t\u00eb lir\u00eb, Tasho na ofron materialitetin kok\u00ebfort\u00eb t\u00eb ideologjis\u00eb: ajo shk\u00ebrmoqet, por vet\u00ebm pas nj\u00eb beteje t\u00eb fort\u00eb.<\/em><\/p>\n\n\n\n

Tekst nga<\/em>: Elton Koritari<\/strong><\/em><\/p>\n\n\n\n

Shtypi rreth ekspozit\u00ebs: P\u00ebrjet\u00ebsoi vitet \u201990-91 si arkeolog e fotograf!Dy bot\u00ebt e Shqip\u00ebris\u00eb n\u00eb lenten e fotografit britanik<\/a><\/p>\n\n\n\n

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The Killing of Faith<\/h1>\n\n\n\n

Ervin B\u00ebrxolli<\/h2>\n\n\n\n

N\u00eb Shqip\u00ebri, besimi \u00ebsht\u00eb rind\u00ebrtuar, \u00ebsht\u00eb lyer me boj\u00eb, \u00ebsht\u00eb ricikluar, ashtu si burgjet, bunker\u00ebt e rr\u00ebnojat e vendit. Por, n\u00eb t\u00eb v\u00ebrtet\u00eb, besimi nuk u zhduk kurr\u00eb; ai thjesht m\u00ebsoi t\u00eb mbijetonte n\u00ebn tok\u00eb, heshturazi dhe me k\u00ebmb\u00ebngulje. Ervin B\u00ebrxolli endet n\u00ebp\u00ebr rr\u00ebnojat e Spa\u00e7it, Tepelen\u00ebs, Muzeut t\u00eb Kujtes\u00ebs s\u00eb Shkodr\u00ebs, vende ku besimi ishte i ndaluar dhe m\u00eb von\u00eb, i k\u00ebrkuar me d\u00ebshp\u00ebrim. Dekada pasi Barry Lewis kapi shk\u00ebndijat e para t\u00eb shpres\u00ebs postkomuniste n\u00eb Shqip\u00ebri, B\u00ebrxolli gjen vet\u00ebm hi, heshtje dhe nj\u00eb vend q\u00eb ende k\u00ebrkon kuptim midis mbetjeve t\u00eb tij.<\/p>\n\n\n\n

\u201cGjat\u00eb komunizmit n\u00eb Shqip\u00ebri, Zoti ishte i jasht\u00ebligjsh\u00ebm. Kjo vlente p\u00ebr t\u00eb gjith\u00eb, t\u00eb krishter\u00eb, mysliman\u00eb, madje edhe ata t\u00eb heshturit. Gjyshja ime, si nj\u00eb myslimane e devotshme lutej n\u00eb dollap\u00eb, p\u00ebshp\u00ebriste vargje n\u00eb tenxheren e sup\u00ebs q\u00eb ziente, gjunj\u00ebzohej n\u00ebp\u00ebr bodrume. Gjasht\u00ebdhjet\u00eb vjet p\u00ebrkushtim i fsheht\u00eb. Vrasja e Besimit \u00ebsht\u00eb ajo q\u00eb ndodh kur u thua njer\u00ebzve t\u00eb mos besojn\u00eb n\u00eb asgj\u00eb dhe ata e b\u00ebjn\u00eb gjithsesi, n\u00eb fsheht\u00ebsi\u201d<\/em> – thot\u00eb artisti.<\/p>\n\n\n\n

N\u00eb fotografit\u00eb e tij, besimi shtrihet n\u00ebp\u00ebr \u00e7arje: nj\u00eb hije n\u00eb mur, nj\u00eb cop\u00eb e palosur, nj\u00eb lug\u00eb e ndryshkur mbajtur nga koha. Besimi, ashtu si rr\u00ebnojat, ka m\u00ebsuar t\u00eb mbijetoj\u00eb.<\/p>\n\n\n\n

Besimi n\u00eb Shqip\u00ebri \u00ebsht\u00eb rind\u00ebrtuar, rilyer, ricikluar, nj\u00ebsoj si burgjet, bunker\u00ebt e rr\u00ebnojat e saj. Ervin B\u00ebrxolli endet n\u00ebp\u00ebr rr\u00ebnojat e Spa\u00e7it, Tepelen\u00ebs, Muzeut t\u00eb Kujtes\u00ebs n\u00eb Shkod\u00ebr, vende ku besimi ishte i ndaluar dhe m\u00eb von\u00eb po ai besim k\u00ebrkohej me d\u00ebshp\u00ebrim. Barry Lewis kapi shk\u00ebndijat e para t\u00eb shpres\u00ebs post-komuniste. Dekada m\u00eb von\u00eb, B\u00ebrxolli gjen vet\u00ebm hi, skepticiz\u00ebm dhe nj\u00eb vend q\u00eb ende k\u00ebrkon kuptim midis mbetjeve t\u00eb tij. <\/em>Nga per\u00ebndit\u00eb e ndaluara te spiritualiteti i Instagramit, edhe besimi ka m\u00ebsuar t’i mbijetoj\u00eb tranzicioneve t\u00eb Shqip\u00ebris\u00eb.<\/em><\/p>\n\n\n\n

Tekst nga: Elton Koritari<\/strong><\/em><\/p>\n\n\n\n

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Foto nga hapja e ekspozit\u00ebs:<\/em><\/p>\n\n\n\n

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Shtypi rreth ekspozit\u00ebs: Shqiptar\u00eb<\/em>t n\u00eb<\/em> fokusin e fotografit Barry Lewis<\/a><\/p>\n\n\n\n

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Pressura \u00ebsht\u00eb m\u00eb shum\u00eb sesa nj\u00eb ekspozit\u00eb<\/em><\/strong> – \u00ebsht\u00eb nj\u00eb platform\u00eb nomade p\u00ebr reflektim kritik, autor\u00ebsi artistike dhe vet\u00ebdije shoq\u00ebrore. E ngjizur n\u00eb gjuh\u00ebn e fotografis\u00eb dhe filmit, ajo thekson thyerjet e koh\u00ebs son\u00eb: pabarazin\u00eb, padrejt\u00ebsin\u00eb dhe rezistenc\u00ebn e qet\u00eb q\u00eb fshihet posht\u00eb tyre. Duke ofruar nj\u00eb lente intime n\u00eb rr\u00ebfimet e anashkaluara, Pressura k\u00ebmb\u00ebngul n\u00eb urgjenc\u00ebn e t\u00eb d\u00ebshmuarit, jo si spektator\u00eb pasiv\u00eb, por si pjes\u00ebmarr\u00ebs t\u00eb angazhuar n\u00eb nj\u00eb struktur\u00eb t\u00eb p\u00ebrbashk\u00ebt shoq\u00ebrore.<\/p>\n\n\n\n

E konceptuar si nj\u00eb koloni artistike bashk\u00ebkohore dhe nomade, Pressura p\u00ebrshkon rajone dhe kufij, duke krijuar hap\u00ebsira ku artist\u00ebt bashkohen, komunitetet p\u00ebrballen dhe rr\u00ebfimi vizual b\u00ebhet nj\u00eb mjet p\u00ebr dialog dhe transformim. N\u00eb thelb t\u00eb saj q\u00ebndron nj\u00eb pyetje themelore: Cili \u00ebsht\u00eb roli i artistit brenda nj\u00eb shoq\u00ebrie t\u00eb sh\u00ebnuar nga p\u00ebr\u00e7arja dhe tranzicioni?<\/p>\n\n\n\n

P\u00ebr t\u00eb dytin vit radhazi, Galeria e Artit Bashk\u00ebkohor Tiran\u00eb mir\u00ebpret k\u00ebt\u00eb eksperiment n\u00eb zhvillim, nj\u00eb hap\u00ebsir\u00eb \u200b\u200bku praktikat bashk\u00ebkohore t\u00eb fotografis\u00eb dhe filmit jo vet\u00ebm q\u00eb v\u00ebzhgohen, por aktivizohen. K\u00ebtu imazhet nuk ilustrojn\u00eb, por hetojn\u00eb. P\u00ebrmes tyre ne gjurmojm\u00eb vijat e prishjes s\u00eb kujtes\u00ebs, identitetit dhe p\u00ebrkat\u00ebsis\u00eb, duke riafirmuar aft\u00ebsin\u00eb e q\u00ebndrueshme t\u00eb fotografis\u00eb p\u00ebr t\u00eb dokumentuar, p\u00ebr\u00e7ar\u00eb dhe frym\u00ebzuar ndryshimin.<\/p>\n\n\n\n

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Shih edhe:<\/p>\n\n\n\n

PRESSURA 2024<\/strong><\/a><\/p>\n\n\n\n

PRESSURA – NE NDERIM TE PAUL LOWE<\/strong><\/a><\/p>\n\n\n\n

PRESSURA IS BACK<\/strong><\/a><\/p>\n\n\n\n

PRESSURA \u2013 EKSPOZIT\u00cb NOMADE<\/strong><\/a><\/p>\n\n\n\n

PRESSURA 2023<\/strong><\/a><\/p>\n\n\n\n

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Mbulimi mediatik:<\/p>\n\n\n\n

Shqiptar\u00eb<\/em>t n\u00eb<\/em> fokusin e fotografit Barry Lewis<\/a><\/p>\n\n\n\n

P\u00ebrjet\u00ebsoi vitet \u201990-91 si arkeolog e fotograf!Dy bot\u00ebt e Shqip\u00ebris\u00eb n\u00eb lenten e fotografit britanik<\/a><\/p>\n\n\n\n

“Reverse Shot”, kur fotografia kthehet n\u00eb nj\u00eb dialog vizual<\/a><\/p>\n\n\n\n

Nj\u00eb Dritare Ndaj Kujtes\u00ebs \u2013 Ekspozita: \u201cShot \/ Reverse Shot\u201d \u2013 Barry Lewis<\/a><\/p>\n\n\n\n

Shot\/Revese short “Gocat” sjell ekspozit\u00ebn q\u00eb sheh drejt e n\u00eb sy<\/a><\/p>\n\n\n\n

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#PRESSURA 2024<\/a>\/PRESSURA IS BACK<\/a>\/PRESSURA 2023<\/a>\/PRESSURA<\/a>\/PRESSURA 2025<\/a><\/em><\/p>\n\n\n\n

<\/p>","protected":false},"excerpt":{"rendered":"

N\u00eb kinematografi, teknika shot\/reverse shot nd\u00ebrton iluzionin e dialogut. Nj\u00eb personazh v\u00ebshtron. Tjetri p\u00ebrgjigjet. V\u00ebshtrimet e tyre nuk takohen, por \u00ebsht\u00eb ky \u00e7ast i prer\u00eb q\u00eb i nd\u00ebrmjet\u00ebson.<\/p>","protected":false},"author":27,"featured_media":451,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[13,16],"tags":[],"class_list":["post-2404","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog","category-exhibition"],"acf":[],"yoast_head":"\nPRESSURA 2025 - Ejalbum<\/title>\n<meta name=\"description\" content=\"SHOT \/ REVERSE SHOT \/ Nj\u00eb Dialog mes V\u00ebshtrimit, Kujtes\u00ebs dhe Koh\u00ebsKurim i edicionit t\u00eb tret\u00eb t\u00eb PRESSURA \u2013 A Nomadic Art Colony\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/ejalbum.com\/sq\/pressura-2025-2\/\" \/>\n<meta property=\"og:locale\" content=\"sq_AL\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"PRESSURA 2025\" \/>\n<meta property=\"og:description\" content=\"SHOT \/ REVERSE SHOT \/ Nj\u00eb Dialog mes V\u00ebshtrimit, Kujtes\u00ebs dhe Koh\u00ebsKurim i edicionit t\u00eb tret\u00eb t\u00eb PRESSURA \u2013 A Nomadic Art Colony\" \/>\n<meta property=\"og:url\" content=\"https:\/\/ejalbum.com\/sq\/pressura-2025-2\/\" \/>\n<meta property=\"og:site_name\" content=\"Ejalbum\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/EJAlbum\/\" \/>\n<meta property=\"article:published_time\" content=\"2025-07-17T12:22:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-02-27T10:01:17+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/ejalbum.com\/wp-content\/uploads\/2025\/12\/Poster-Pressura-EJAlbum-2025-1.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1080\" \/>\n\t<meta property=\"og:image:height\" content=\"1350\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Merisa Hasrama\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Merisa Hasrama\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"14 minuta\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/ejalbum.com\\\/pressura-2025-2\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/ejalbum.com\\\/pressura-2025-2\\\/\"},\"author\":{\"name\":\"Merisa Hasrama\",\"@id\":\"https:\\\/\\\/ejalbum.com\\\/#\\\/schema\\\/person\\\/7f8b931faa8c2e96d5ea96c19637ec12\"},\"headline\":\"PRESSURA 2025\",\"datePublished\":\"2025-07-17T12:22:00+00:00\",\"dateModified\":\"2026-02-27T10:01:17+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/ejalbum.com\\\/pressura-2025-2\\\/\"},\"wordCount\":2862,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/ejalbum.com\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/ejalbum.com\\\/pressura-2025-2\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/ejalbum.com\\\/wp-content\\\/uploads\\\/2025\\\/12\\\/Poster-Pressura-EJAlbum-2025-1.jpg\",\"articleSection\":[\"Blog\",\"exhibition\"],\"inLanguage\":\"sq\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/ejalbum.com\\\/pressura-2025-2\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/ejalbum.com\\\/pressura-2025-2\\\/\",\"url\":\"https:\\\/\\\/ejalbum.com\\\/pressura-2025-2\\\/\",\"name\":\"PRESSURA 2025 - 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