{"id":4584,"date":"2026-10-13T09:04:37","date_gmt":"2026-10-13T09:04:37","guid":{"rendered":"https:\/\/thelb.al\/?p=4584"},"modified":"2026-10-13T09:04:37","modified_gmt":"2026-10-13T09:04:37","slug":"shah-mat-ne-kohen-qe-jetojme-arti-i-zake-prelvukajt","status":"publish","type":"post","link":"https:\/\/thelb.al\/?p=4584","title":{"rendered":"‘Shah mat’ n\u00eb koh\u00ebn q\u00eb jetojm\u00eb, arti i Zake Prelvukajt"},"content":{"rendered":"

Nj\u00eb figur\u00eb blu luan fizarmonik\u00eb. Posht\u00eb saj jan\u00eb gur\u00ebt e shahut; p\u00ebrreth, nj\u00eb or\u00eb, nj\u00eb sht\u00ebpi dhe shenja t\u00eb tjera q\u00eb nuk i dallon t\u00eb gjitha menj\u00ebher\u00eb. Ngjyrat t\u00eb afrojn\u00eb te piktura, pastaj nis t\u00eb v\u00ebresh sa shum\u00eb gj\u00ebra po ndodhin brenda saj. Ishte kjo pamje q\u00eb na b\u00ebri t\u00eb ndaleshim te puna e Zake Prelvukajt dhe t\u00eb sillnim n\u00eb THELB m\u00eb shum\u00eb nga krijimtaria dhe historia e saj.<\/p>\n

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Piktura \u00ebsht\u00eb pjes\u00eb e ciklit Rregullat e reja<\/em>, t\u00eb krijuar gjat\u00eb viteve 2020\u20132021 dhe t\u00eb ekspozuar n\u00eb \u00c7ifte Hamam t\u00eb Shkupit. M\u00eb von\u00eb, Prelvukaj ia dhuroi pik\u00ebrisht k\u00ebt\u00eb piktur\u00eb Fondacionit Ram\u00eb Lahaj. Duke folur p\u00ebr t\u00eb, artistja i lidhi gur\u00ebt e shahut me ndjesin\u00eb se zhvillimet e koh\u00ebs na kan\u00eb v\u00ebn\u00eb n\u00eb \u2018shah mat\u2019 dhe se secili duhet t\u00eb gjej\u00eb m\u00ebnyr\u00ebn p\u00ebr t\u2019u p\u00ebrshtatur.<\/p>\n

Pandemia ishte \u00e7asti kur mori form\u00eb ky cik\u00ebl, por Prelvukaj mendonte edhe p\u00ebr zhvillimin e vrullsh\u00ebm t\u00eb teknologjis\u00eb dhe p\u00ebr m\u00ebnyr\u00ebn si po ndryshonte jeta p\u00ebrtej asaj periudhe. Veprat e tjera na \u00e7ojn\u00eb edhe m\u00eb pas n\u00eb koh\u00eb, nga figura me ngjyra t\u00eb ndezura te fytyrat, shkrimet dhe sip\u00ebrfaqet e punuara n\u00eb tone t\u00eb err\u00ebta. P\u00ebr t\u00eb kuptuar \u00e7far\u00eb e lidh k\u00ebt\u00eb piktur\u00eb me pjes\u00ebn tjet\u00ebr t\u00eb krijimtaris\u00eb s\u00eb saj, duhet t\u00eb kthehemi n\u00eb Prishtin\u00ebn ku ajo nisi t\u00eb punonte si artiste.<\/p>\n

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Prelvukaj u diplomua p\u00ebr piktur\u00eb n\u00eb Prishtin\u00eb n\u00eb vitin 1991 dhe, dy vjet m\u00eb pas, filloi t\u00eb jepte m\u00ebsim n\u00eb Fakultetin e Arteve. Ishin vite kur artist\u00ebve shqiptar\u00eb u ishin mbyllur hap\u00ebsirat institucionale dhe ekspozitat gjenin vend edhe n\u00eb kafene. Ajo kujton se \u2018Hani i Dy Robert\u00ebve\u2019, nj\u00eb nga vendet ku takoheshin arti dhe jeta kulturore e qytetit, u hap me nj\u00eb ekspozit\u00eb t\u00eb saj. P\u00ebr Prelvukajn, piktura u b\u00eb edhe nj\u00eb m\u00ebnyr\u00eb p\u00ebr t\u00eb mbajtur sh\u00ebnim at\u00eb q\u00eb po ndodhte p\u00ebrreth: kur kthehej n\u00eb sht\u00ebpi, shkruante dhe punonte me imazhet e r\u00ebnda q\u00eb kishte par\u00eb gjat\u00eb dit\u00ebs.<\/p>\n

N\u00eb pun\u00ebt e atyre viteve shfaqen shkrime, fytyra dhe sip\u00ebrfaqe ku ngjyra duket e g\u00ebrvishtur ose e hedhur shtres\u00eb mbi shtres\u00eb. V\u00ebshtrimi ndalet te nj\u00eb portret i vog\u00ebl i vendosur mes shenjave, pastaj te nj\u00eb fjal\u00eb q\u00eb del nga p\u00eblhura. Jan\u00eb vepra ku njeriu nuk paraqitet i shk\u00ebputur nga ajo q\u00eb po jeton.<\/p>\n

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N\u00eb vitin 1998, Prelvukaj prezantoi n\u00eb Galerin\u00eb Dodona X-at flasin<\/em>. Shkronja X, sipas artistes, ishte nj\u00eb shenj\u00eb p\u00ebr dik\u00eb t\u00eb v\u00ebn\u00eb n\u00eb sh\u00ebnjest\u00ebr dhe nj\u00eb k\u00ebrkes\u00eb p\u00ebr ndihm\u00eb. N\u00eb ekspozit\u00eb, ajo mori edhe form\u00ebn e nj\u00eb instalacioni t\u00eb madh q\u00eb digjej. Prelvukaj e lidhi k\u00ebt\u00eb simbol me fytyrat e grave dhe me dhun\u00ebn e koh\u00ebs. N\u00eb t\u00eb nj\u00ebjt\u00ebn periudh\u00eb nisi t\u00eb p\u00ebrdorte edhe trupin e vet si mjet krijimi, e mbuloi me ngjyr\u00eb dhe la gjurm\u00ebt e tij mbi nj\u00eb p\u00eblhur\u00eb t\u00eb gjat\u00eb. E interesonte vepra q\u00eb do t\u00eb dilte prej k\u00ebtij veprimi, por edhe reagimi i shoq\u00ebris\u00eb kur nj\u00eb grua artiste shfaqte trupin e saj n\u00eb pun\u00eb.<\/p>\n

Me kalimin e viteve, Prelvukaj nuk u kufizua te piktura. Ajo p\u00ebrdori instalacionin, performanc\u00ebn, fotografin\u00eb dhe videon, duke zgjedhur p\u00ebr secil\u00ebn ide form\u00ebn q\u00eb i jepte m\u00eb shum\u00eb mund\u00ebsi ta zhvillonte.<\/p>\n

Pas luft\u00ebs, Prelvukaj vazhdoi t\u00eb eksperimentonte me materiale dhe forma t\u00eb ndryshme. N\u00eb disa pun\u00eb p\u00ebrdori ziftin, duke e g\u00ebrvishtur sip\u00ebrfaqen p\u00ebr t\u00eb nxjerr\u00eb prej saj figura dhe fjal\u00eb. Shprehje si \u2018Un\u00eb jam viti 1999\u2019 dhe \u2018Un\u00eb jam kurban i Ballkanit\u2019 e b\u00ebjn\u00eb gjuh\u00ebn pjes\u00eb t\u00eb pandashme t\u00eb imazhit. N\u00eb ekspozit\u00ebn kolektive Sexhibition<\/em> t\u00eb vitit 2005, ku ishte edhe kuratore e bashkautore, trajtoi p\u00ebrmes piktur\u00ebs, fotografis\u00eb dhe videos m\u00ebnyrat e ndryshme si shihet dhe trajtohet trupi i gruas.<\/p>\n

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Puna e Prelvukajt \u00ebsht\u00eb paraqitur edhe jasht\u00eb Kosov\u00ebs. N\u00eb vitin 2015, Qendra e Artit Bashk\u00ebkohor e Malit t\u00eb Zi organizoi nj\u00eb ekspozit\u00eb t\u00eb saj me piktura dhe video n\u00eb Galerin\u00eb Centar<\/em>. N\u00eb tekstin shoq\u00ebrues, historiania e artit Anastazija Miranovi\u0107 u ndal te p\u00ebrdorimi i trupit n\u00eb veprat e artistes, nj\u00eb tem\u00eb q\u00eb na ka shoq\u00ebruar edhe n\u00eb k\u00ebt\u00eb rr\u00ebfim. Sipas katalogut t\u00eb Galeris\u00eb Komb\u00ebtare t\u00eb Kosov\u00ebs, nj\u00eb vep\u00ebr e Prelvukajt gjendet gjithashtu n\u00eb koleksionin e p\u00ebrhersh\u00ebm t\u00eb National Museum of Women in the Arts<\/em> n\u00eb Uashington.<\/p>\n

Puna e saj mori forma t\u00eb tjera edhe n\u00eb Ofsham\u00eb<\/em>. Krahas piktur\u00ebs, Prelvukaj p\u00ebrdori videon dhe vajtimin p\u00ebr t\u00eb folur p\u00ebr dhimbjen, fajin dhe kujtes\u00ebn. N\u00eb nj\u00eb prej videove, duart lahen, por gjaku shfaqet s\u00ebrish. Artistja e ka lidhur at\u00eb imazh me plag\u00ebt q\u00eb nuk zhduken vet\u00ebm sepse p\u00ebrpiqemi t\u2019i l\u00ebm\u00eb pas. K\u00ebto vepra ndihmojn\u00eb t\u00eb kuptojm\u00eb edhe ndryshimin pamor q\u00eb sjellin Rregullat e reja<\/em>: nga sip\u00ebrfaqet e err\u00ebta dhe t\u00eb g\u00ebrvishtura, Prelvukaj kalon te ngjyrat e forta dhe figurat q\u00eb mbushin p\u00eblhur\u00ebn. Shqet\u00ebsimi p\u00ebr njeriun brenda nj\u00eb kohe q\u00eb e trondit mbetet i pranish\u00ebm vazhdimisht.<\/p>\n

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Prelvukaj vazhdon t\u00eb krijoj\u00eb dhe t\u00eb jap\u00eb m\u00ebsim n\u00eb Prishtin\u00eb. N\u00eb fillim t\u00eb k\u00ebtij tetori, ajo paraqiti pun\u00ebn e saj n\u00eb edicionin e kat\u00ebrt t\u00eb Bienales Nd\u00ebrkomb\u00ebtare t\u00eb Vizatimit n\u00eb qytet. N\u00eb vitin 2024, u zgjodh an\u00ebtare korrespondente e Akademis\u00eb s\u00eb Shkencave dhe t\u00eb Arteve t\u00eb Kosov\u00ebs. Nga ekspozitat e organizuara n\u00eb kafene gjat\u00eb viteve \u201990 deri te Bienalja e k\u00ebtij viti, puna e saj ka vijuar t\u00eb z\u00ebr\u00eb vend n\u00eb jet\u00ebn artistike t\u00eb Prishtin\u00ebs.<\/p>\n

-THELB,\u00a0<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Nj\u00eb figur\u00eb blu luan fizarmonik\u00eb. Posht\u00eb saj jan\u00eb gur\u00ebt e shahut; p\u00ebrreth, nj\u00eb or\u00eb, nj\u00eb sht\u00ebpi dhe shenja t\u00eb tjera q\u00eb nuk i dallon t\u00eb gjitha menj\u00ebher\u00eb. Ngjyrat t\u00eb afrojn\u00eb te piktura, pastaj nis t\u00eb v\u00ebresh sa shum\u00eb gj\u00ebra po ndodhin brenda saj. Ishte kjo pamje q\u00eb na b\u00ebri t\u00eb ndaleshim te puna e Zake […]<\/p>\n","protected":false},"author":2,"featured_media":4597,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[49,48],"tags":[],"tmauthors":[64],"class_list":["post-4584","post","type-post","status-publish","format-standard","has-post-thumbnail","category-art","category-kulture"],"_links":{"self":[{"href":"https:\/\/thelb.al\/index.php?rest_route=\/wp\/v2\/posts\/4584","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/thelb.al\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/thelb.al\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/thelb.al\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/thelb.al\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4584"}],"version-history":[{"count":1,"href":"https:\/\/thelb.al\/index.php?rest_route=\/wp\/v2\/posts\/4584\/revisions"}],"predecessor-version":[{"id":4598,"href":"https:\/\/thelb.al\/index.php?rest_route=\/wp\/v2\/posts\/4584\/revisions\/4598"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/thelb.al\/index.php?rest_route=\/wp\/v2\/media\/4597"}],"wp:attachment":[{"href":"https:\/\/thelb.al\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4584"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/thelb.al\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4584"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/thelb.al\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4584"},{"taxonomy":"tmauthors","embeddable":true,"href":"https:\/\/thelb.al\/index.php?rest_route=%2Fwp%2Fv2%2Ftmauthors&post=4584"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}