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---------- Forwarded message ---------- From: Stacion - Center for Contemporary Art Prishtina <info@stacion.org> Date: 2011/4/4 Subject: The Director's Cut: Rexhep Ferri nà Stacion  Qendra pÃr Art BashkÃkohor Prishtinà To: Stacion - Center for Contemporary Art Prishtina <info@stacion.org> The Director's Cut: Rexhep Ferri Kurator: Albert Heta 5/4/2011 - 30/4/2011 Hapja: 5/4/2011, 19:00 Kjo Ãshtà njà ekspozità qà sÂdo tà duhej tà ndodhte. The Director's Cut  prerja regjisoriale: Rexhep Ferri Ãshtà pjesà e projektit Kthimi nà tà ardhmen, projekt kuratorial i Albert HetÃs, dhe qà prodhohet prej Stacion  Qendra pÃr Art BashkÃkohor PrishtinÃ. Prej fillimit tà vitit 2009, Kthimi nà tà ardhmen u formÃsua pÃrbrenda programit tà ekspozitave: Petrit Halilaj: Kthimi nà tà ardhmen (17/12/2009 - 6/2/2010), Kthimi nà tà Ardhmen: Agim Ãavdarbasha (11/3/2010 - 2/4/2010), Kthimi nà tà ardhmen: Nysret Salihamixhiqi (1/6/2010 - 22/6/2010) dhe Kthimi nà tà ardhmen: KadÃr Pagarusha (4/9/2010 - 2/10/2010). Faza tjetÃr e kÃtij projekti do tà jetà simpoziumi Kthimi nà tà ardhmen qà do tà mbahet me 7/4/2011 dhe diskutimi me panelistÃt Zdenka Badovinac, drejtore e Moderna Galeria, LublanÃ, Mehmet Behluli, artist dhe anÃtar i kÃshillit drejtues tà Galerisà sà Arteve tà KosovÃs, Prishtinà dhe Shyqri Niman, drejtr i Galerisà sà Arteve, Prishtinà nga themelimi nà vitin 1979 deri nà vitin 1989. Po qe se e shikojmà tà kaluarÃn e kÃtij projekti, Kthimi nà tà ardhmen si projekt nà skenÃn ndÃrkombÃtare kishte njà Åtakim tà afÃrt me njà Åobjekt mà tà madh, panairin artistik Artissima (5/11/2010 - 7/11/2010). Seksioni ÅBack to the Future pÃr kÃtà ngjarje u konceptua prej komitetit shkencor tà pÃrbÃrà nga tre kuratorà tà koleksioneve muzeale: Christine Macel, kuratore e QendrÃs Pompidou, Paris - Jessica Morgan, kuratore e Artit BashkÃkohor, Tate Modern, LondÃr - Massimiliano Gioni, Drejtor i projekteve speciale, Muzeu i Ri i Artit BashkÃkohor, New York dhe drejtor artistik i Fondazione Nicola Trussardi, Milano. Ky seksion, jo vetÃm qà u krijua me tà njÃjtin emÃr ÅBack to the future (Kthimi nà tà ardhmen), por ka edhe ngjashmÃri tà jashtÃzakonshme nà projekt, qà janà mà shumà se vetÃm interesante pÃr tà punuar me to nà tà ardhmen. Kthimi nà tà ardhmen me Rexhep Ferrin dhe Xhevdet XhafÃn ishin pjesÃt e strukturÃs fillestare tà projektit Kthimi nà tà ardhmen. Tà dy pjesÃt u anuluan nà fazÃn e vonà tà hulumtimit, nà mes tà vitit 2010. Procesi i hulumtimit tà punÃs sà Rexhep Ferrit (1937) kishte mbÃrritur fazÃn finale dhe kjo ekspozità do tà projektojà pikÃtakimin e fundÃm tà bashkÃpunimit me kÃtà artist tà madh dhe personalitet kompleks. Rexhep Ferri Ãshtà piktor, poet dhe shkrimtar, por mbi tà gjiha Ãshtà njà mendimtar. The Director's Cut: Rexhep Ferri sÃrish ka tà bÃjà me paraqitjen e njà pune tà krijuar nà tà kaluarÃn, nà njà tjetÃr hapÃsirÃ, kohà dhe kontekst. Dy figura dhe njà pritje u krijua nà vitin 1973. The director's cut  prerja regjisoriale apo versioni i regjisorit, nà kÃtà rast, Ãshtà version veÃan i edituar i projektit Kthimi nà tà ardhmen. Director's cuts  prerja regjisoriale, nà industrinà e filmit, pÃrgjithÃsisht mbetet i pashfaqur pÃr publikun, meqÃnÃse pÃr filmat, nà shumicÃn e studiove, regjisori nuk e ka privilegjin e premjes/ editimit tà versionit final. Studioja (e cila i ka investimet nà rrezik) mund tà insistojà qà tà bÃhen ndryshime, qà sipas tyre, mund ta bÃjnà filmin mà tà shikuar nà kinema. Kjo ndonjÃherÃ, nÃnkupton fund mà tà lumtur ose mà pak ambiguitete, por nà shumicÃn e rasteve nÃnkupton qà filmi tà shkurtohet nà mÃnyrà qà tà mundÃsojà mà shumà shfaqje mbrenda njà dite. Prandaj, forma mà e shpeshtà e director's cut Ãshtà version me skena tà shtuara, qà shpeshherà e bÃjnà filmin dukshÃm mà tà gjatà sesa ÂorigjinalitÂ. Nà rastin tonÃ, Ãshtà e rÃndÃsishme tà pÃrmendim se ka qenà njà tjetÃr prerje e vÃrtetà qà kishte luajtur rol nà kÃtà ekspozitÃ; njà prerje 18 cm qà u pÃrshkrua si dÃmtim nà pjesÃn e sipÃrme tà pikturÃs sà pÃrzgjedhur pÃr kÃtà ekspozitÃ. Kjo pikturà Ãshtà pjesà e Galerisà sà Arteve tà KosovÃs. Ky koleksion Ãshtà komponenta tjetÃr e projektit Kthimi nà tà ardhmen dhe pika qendrore e partneritetit me Galerinà e Artit tà KosovÃs Ãshtà ky projekt. KÃrkesa zyrtare pÃr tà pasur qasje te kjo pikturà ishte rasti i dytÃ, kur si pjesà e projektit, ne nisÃm procedurat administrative pÃr tà tà huazuar punime prej Galerisà sà Artit tà KosovÃs. Rasti i parà ishte pÃr ekspozitÃn: Kthimi nà tà ardhmen: Nysret Salihamixhiqi. Por cili Ãshtà konteksti (tjetÃr) historik qà e rrethon kÃtà pikturà dhe punà tà Rexhep Ferrit? Viti 1973 ishte viti kur Rexhep Ferri krijoi mà shumà se njà pikturÃ. Nà vitin 1974 Krahina Socialiste Autonome e KosovÃs dhe Krahina Socialiste Autonome e VojvodinÃs fituan njà pozità unike kushtetuese nà FederatÃn Jugosllave dhe RepublikÃn Socialiste tà SÃrbisÃ, si dhe i fituan institucionet e veta vetÃqeverisÃse, tà cilat jo vetÃm qà ishin autonome por nà tà njÃjtÃn kohà shÃrbenin si mjete pÃr tà kontrolluar aspiratat gjithÃherà tà pranishme sÃrbe pÃrmes njà zgjidhjeje unike kushtetuese, qà mund tà pÃrshkruhet vetÃm si njà mvarshmÃri e dyanÃshme qà i kufizonte fuqità SÃrbisÃ. PÃr ta pÃrshkruar kÃtà zgjidhje me vetÃm njà element: vendimet e marra nga Kuvendi i SÃrbisÃ, qà kishin tà bÃnin me KrahinÃn Socialiste Autonome tà KosovÃs dhe KrahinÃn Socialiste Autonome tà VojvodinÃs, sipas kushtetutÃs sà vitit 1974, duhej tà aprovoheshin nga Kuvendi i KrahinÃs Socialiste Autonome tà KosovÃs dhe Kuvendi i KrahinÃs Socialiste Autonome tà VojvodinÃs. Nà vitin 1977 Rexhep Ferri hapi njà ekspozità vetjake nà Galerinà (Yvon?) Lambert, nà Paris, FrancÃ. Alain Bosquet e fillon tekstin nà hyrje tà katalogut tà ekspozitÃs me kÃto rreshta: ÅSalut pÃr Rexhep Ferrin Ãshtà gjithmonà ndjenjà e kÃndshme, madje ekzaltuese, tà nderosh talentin e njà piktori, qà nuk e njeh dhe qà vjen nga horizonte tà largÃta. Kjo Ãshtà kÃnaqÃsia qà kam sot para veprÃs sà njà artisti. Nuk kam mundÃsi tà them nÃse kjo pikturà ka rrÃnjà tà veÃueshme nà traditÃn e vendit tà tij, i cili, nga aspekti i pikturÃs, nuk Ãshtà shumà i njohur pÃr ne. Mendoj mà parà se, duke i shkÃputur nga rrethanat, Rexhep Ferri ka ditur mjaft mirà tà sigurojà universalitÃtin e tij dhe kjo, u morr vesh, mà le mbresÃn mà tà qÃndrueshme... 12 vjet mà vonÃ, ndrrimet nà kushtetutÃn e SÃrbisà nà vitin 1989, qà e shlyen autonominà e KosovÃs, u aprovuan prej Kuvendit tà KrahinÃs Socialiste Autonome tà KosovÃs. Ky votim erdhi nà njà kohà kur kushtet e autonomisà dhe tà aparatit shtetÃror tà KrahinÃs Socialiste Autonome tà KosovÃs u lÃkundÃn seriozisht prej sfidave tà pandÃrprera qà i bÃnte SÃrbia KosovÃs, qysh prej vdekjes sà Josip Broz Titos nà vitin 1980. Riparaqitja e parà publike e aspiratave tà para kolonialiste tà SÃrbisà ndodhi nà pranverà tà vitit 1981, pas demonstratave tà studentÃve shqiptarà nà Universitetin e PrishtinÃs. Demonstratat e vitit 1981 sot quhen edhe ÅPranvera (shqiptare) 1981Â. Shumà libra e disertacione tà masterit janà shkruar prej atyre, tà gjendur sot nà pushtet, qà thonà tà jenà organizatorÃt a sponsorÃt e ÅPranverÃs (shqiptare) 1981Â. Nà reprezantimin medial tà vitit 2011 tà kÃsaj ngjarjeje paraqitet njà problem shtesÃ: njà fotografi me ngjyra e demonstratave tà viteve 1990, tash po pÃrdoret nà version bardh e zi, nga mediet, pÃr tà Ådokumentuar demonstratat e vitit 1981. Nuk e di se Ãfarà ka ndodhur me fotografinà e Hydajet Hyseni me mustaqe tà vitit 1981, qà i ngjitur nà njà pemà nà qendÃr tà PrishtinÃs flet pÃrmes megafonit? Por cili Ãshtà dallimi ndÃrmjet demonstratave tà vitit 1981 dhe atyre tà vitit 1990? ShqiptarÃt dolÃn nà rrugà si nà vitin 1981 ashtu edhe nà vitin 1990. Nà demonstratat e pranverÃs sà vitit 1981 shqiptarÃt ishin edhe demonstrues edhe policÃ. Nà vitin 1981 Lidhja Komuniste e KosovÃs ishte partia qà e udhÃheqte KrahinÃn Socialiste Autonome tà KosovÃs. Nà vitin 1981, Mahmut Bakalli ishte ende nà pozitÃn e kryesuesit tà Komitetit Qendror tà Lidhjes Komuniste tà KosovÃs. Mahmut Bakalli u diplomua nà Fakultetin e Shkencave Politike nà Universitetin e Beogradit. Karriera politike e Bakallit nisi nà organizatat e rinisà sà Lidhjes Komuniste tà KosovÃs, ndÃrsa nà vitin 1961 pÃrfundimisht u vu nà krye tà saj. Nà vitin 1967, ai u bà udhÃheqÃs i komitetit partiak tà PrishtinÃs. PÃrderisa ngritej nà pozitÃ, ai u zgjodh nà mandate pasuese nà Komitetin Qendror tà Lidhjes sà KomunistÃve tà SÃrbisà dhe nà Kryesinà e Lidhjes Komuniste tà Komitetit Qendror tà JugosllavisÃ. Bakalli e udhÃhoqi Partinà Komuniste nà Kosovà gjatà viteve tà vonshme tà Â70 e deri nà vitin 1981. Ai dha dorÃheqje mà 6 maj 1981 pas demonstratave tà studentÃve shqiptarÃ. Po qe se e google-oni Hydajet Hysenin, njà prej udhÃheqÃsve tà demonstratave tà pranverÃs sà vitit 1981, mund tà gjeni pÃrshkrimin nÃn imazhin (tashmà tà munguar) e vÃrtetà tà demonstratave tà vitit 1981: Dhe atÃherà Hydajet Hyseni, aktivist, themelues nà zà i grupit Marksist-Leninist si dhe gazetar i tà pÃrditshmÃs kosovare nà gjuhÃn shqipe Rilindja, i cili deri kohà mà parà fshihej, u ngjit nà pemà dhe u foli demonstruesve para ndÃrtesÃs sà Partisà Komuniste e i nxiti qà tà mos ndaleshin. KÃshtu ai u bà i njohur si Che Guevara i KosovÃs. (Daut) Dauti thotÃ: "NjerÃzit thoshin se ne duhet tà Ãliroheshim prej sundimit sÃrb. Ekzistonte njà ndjenjà se [pavarÃsisht prej autonomisÃ] pozitat kyÃe ende mbaheshin prej sÃrbÃve dhe shqiptarÃve pro-sÃrb." Nà imazhin e vitit 1990, qà tani shihet si imazh i vitit 1981, shqiptarà qenà vetÃm demonstruesit. Imazhi i pÃrdorur dokumenton demonstratÃn e organizuar nà vitin 1990 gjatà vizitÃs sà delegacionit amerikan nà Kosovà qà udhÃhiqej prej Bob Dole-it dhe gjashtà senatorÃve tà tjerà tà Senatit tà Shteteve tà Bashkuara tà AmerikÃs. Nà vitin 1990 Kosova ishte nÃn okupimin sÃrb. Lidhja Komuniste e KosovÃs nuk ekzistonte mÃ. Policia nà imazhin e vitit 1990 ishte polici sÃrbe qà ishte pjesà e aparatit tà shtypjes sà okupimit sÃrb. Krejt kjo qà u tha mà sipÃr mà sjell te dy pyetje kyÃe qà kanà tà bÃjnà me kÃtà projekt. Cili Ãshtà imazhi i punÃs sà Rexhep Ferrit gjatà gjithà kÃtyre viteve? Qysh gjeti vend ky kompleksitet social nà pikturÃn moderniste tà Rexhep Ferrit dhe tà piktorÃve tà tjerà modernistÃ? Dhe, cili Ãshtà roli i koleksionit tà artit si dhe roli i institucionit qà punon nà mbledhjen e artit dhe tà narrativÃve tà njà vendi? A munden kÃta artikuj, tà mbledhur rastÃsisht dhe pa kontekstualizim tà krijimit tà tyre, tà luajnà ndonjà rol nà artin e tà sotmes? A Ãshtà konteksti (historik) i munguar qà lidhet me departamentin e munguar tà historisà sà artit qà nuk u krijua asnjÃherà si pjesà e ndonjà prej universiteteve a institucioneve tà tjera arsimore nà KosovÃ? A janà pÃrpjekjet pÃr ta shlyer artin bashkÃkohor tà ndÃrlidhura me pÃrpjekjet pÃr tà shlyer modernizmin nà kÃtà shoqÃri? PÃr ta pÃrmbyllur, do tà citoj njà pjesà tà njà studimi nga GÃzim QÃndro, kritik arti qà jeton nà TiranÃ, pÃr monografinà e punimeve tà Rexhep Ferrit, tà publikuar tash sà voni nga Akademia e Shkencave dhe Arteve tà KosovÃs: ÅModernizmi pÃr njà vend si Kosova kishte njà rÃndÃsi qà e kapÃrcente lidhjen vetÃm me artin dhe letÃrsinÃ. Kjo, pasi modernizmi pÃr EvropÃn ishte njà risi qà tronditi themelet e botÃs nà tà cilÃn kishin jetuar evopianÃt deri atÃherÃ, ndonÃse, ndryshe nga cÂmendohet, thyerja me traditÃn nuk pati atà pÃrmsà qà i jepet. Thelbi i kÃsaj risie qÃndronte nà vÃtÃkritikÃn qà propozonte hapur epoka moderniste, njà shqyrtim qà nuk ndalej kur vinte nà dikutim vetà themelet e qytetÃrimit perÃndimor. ShoqÃria kosovare, nà shumicÃn e saj, ragoi pozitivisht ndaj modernitetit, duke pranuar karakterin e tij zanafillor reformist socio-kulturor. PÃrpjekja pÃr futjne e konceptit tà vetÃkritikÃs nà njà shoqÃri tà mbyllur konzervatore si Kosova e viteve Â50âÂ60 Ãshtà padyshim e lÃvdueshme, ndonse pÃr mendimin tim modest, ndaj modernizmit dhe risive te tij reagoi pozitivisht vetÃm elita kulturore dhe njà pjesà e klasÃs sà mesme nà qytetet kryesore. Pyetja ime ÃshtÃ: Cila Ãshtà ajo ndjenjà ndÃrmjet ÅPranverÃs (shqiptare) 1981Â, shkatÃrrimit tà shoqÃrisà kosovare dhe aparatit tà KrahinÃs Socialiste Autonome tà KosovÃs (modernizmit nà KosovÃ), okupimit sÃrb tà KosovÃs dhe projektit  shtet tà ri (lindur) tà KosovÃs? Dhe si mund ta projektojmà modernizmin (e munguar) si realitet nà epokÃn e Lady Gaga-sÃ? Kthimi nà tà ardhmen nga Stacion  Qendra pÃr Art BashkÃkohor Prishtina Ãshtà kÃrkim pÃr ta zÃnà kohÃn nÃpÃrmjet punimeve tà pÃrzgjedhura tà artit dhe teksteve, si dhe puna nà kontekstualizimin e kohÃs dhe gjeografisà tà ndÃrlidhur me punÃt e jashtÃzakonshme qà janà nà fokus tà kÃtyre ekspozitave dhe qà janà njà investim nà krijimin e hapÃsirÃs pÃr reflektime tà ardhshme tà besueshme mbi punÃt e gjeneratave tà kaluara tà artistÃve pÃr gjeneratat e ardhshme tà artistÃve. Albert Heta Prill 2011 Stacion - Qendra per Art Bashkekohor Prishtine Rr. Zija Prishtina p.n. 10000 Prishtine Republika e Kosoves +381-(0)38-222-576 info@stacion.org www.stacion.org * The Director's Cut: Rexhep Ferri Curatorial by Albert Heta 5/4/2011 - 30/4/2011 Opening: 5/4/2011, 19:00hrs This is an exhibition that is not supposed to happen. The Director's Cut: Rexhep Ferri is part of the project Back to the Future, a curatorial project by Albert Heta, produced for Stacion  Center for Contemporary Art Prishtina. Since its begging in 2009, Back to the Future was shaped within the exhibitionÂs program as: Petrit Halilaj: Back to the future (17/12/2009 - 6/2/2010), Back to the future: Agim Cavdarbasha (11/3/2010 - 2/4/2010), Back to the future: Nysret Salihamixhiqi (1/6/2010 - 22/6/2010) and Back to the future: Kader Pagarusha (4/9/2010 - 2/10/2010). The next stage of the project is the symposium Back to the future (7/4/2011) and the panel discussion with Zdenka Badovinac, Mehmet Behluli and Shyqri Nimani. Looking in the past of this project, Back to the future as a project in the international scene also had a Åclose encounter with a larger ÅobjectÂ, Artissima art fair (5/11/2010 - 7/11/2010). The section Back to the future for this event was conceived by a Scientific Committee consisting of three curators of museum collections: Christine Macel, Curator Centre Pompidou, Paris - Jessica Morgan, Curator Contemporary Art, Tate Modern, London - Massimiliano Gioni, Director of Special Projects, New Museum of Contemporary Art, New York and Artistic Director Fondazione Nicola Trussardi, Milan. This section was created not only with the same name but also incredible similarities in the project that are more than only interesting to work with in the future. Back to the Future with Rexhep Ferri and Xhevdet Xhafa were parts of the initial structure of Back to the Future as a project. Both were cancelled in the late research phase of the project in mid 2010. The process of researching the work of Rexhep Ferri (1937) had reached the final phase and this exhibition will project the final meeting point reached in the working communication with this great artist and a complex personality. Rexhep Ferri is a painter, poet and writer, but above all he is a thinker. The Director's Cut: Rexhep Ferri is again about showing one work created in the past, in another space, time and context. Two Figures and One Expectation was made in 1973. The director's cut, in this case, is a specially edited version of the project Back to the future. Director's cuts in film industry generally remain unreleased to the public because, as far as film is concerned, with most film studios the director does not have a final cut privilege. The studio (whose investment is at risk) can insist on changes that they feel will make the film more likely to succeed at the box office. This sometimes means a happier ending or less ambiguity, but more often means that the film is simply shortened to provide more screenings per day. The most common form of director's cut is therefore to have extra scenes added, often making the "new" film considerably longer than the "original". In our case, it is relevant to mention that there is was another real cut that had a role in this exhibition; a 18 cm cut was described as a damage on the upper section of the painting selected for this exhibition. This painting is part of the collection of The Kosova Art Gallery. This collection is another component of the project Back to the Future and the central point of the partnership with the Kosova Art Gallery in this project. The official request to have access to this paining was the second case when as apart of the project we initiated the administrative procedure of requesting a loan of works form the collection of the Kosova Art Gallery. But what is the (other) historical context that encircles this painting and the work of Rexhep Ferri? In 1973 was the year when Rexhep Ferri created more than one painting. In 1974 Socialist Autonomous Province of Kosova and Socialist Autonomous Province of Vojvodina gained an unique constitutional position in the Yugoslav Federation and The Socialist Republic of Serbia and their own self-governing institutions that were not only autonomous but were also served as tool for controlling the always existing Serbian colonizing aspirations through a unique constitutional solution that can be described only as a mutual dependency. To describe this solution only with one element: the decisions of the Parliament of Serbia that concerned Socialist Autonomous Province of Kosova and Socialist Autonomous Province of Vojvodina by the constitution of 1974 requested the approval of the Parliament of Socialist Autonomous Province of Kosova and Socialist Autonomous Province of Vojvodina. In 1977 Rexhep Ferri has a solo show at Galerie (Yvon? My question) Lambert, Paris, France Alain Bosquet starts the text in the introduction of the catalogue of the exhibition with these lines: 'Salut for Rexhep Ferri Paying tribute to the talent of a painter you do not know and who comes from a distant country, is always a pleasant and a thrilling experience. This is exactly what I am experiencing before the work of this particular artist. I cannot say whether this painting has a significant root in the tradition of his country, of which, when it comes to painting, we do not know that much. I would rather judge, grasping the circumstances, Rexhep Ferri knew very well how to secure its universality, which clearly, made the deepest impression on me ... 12 years after, the changes in the constitution of Serbia in 1989 that abolished the autonomy of Kosova were approved by the parliament of Socialist Autonomous Province of Kosova. This vote came in the time when the autonomy and the state apparatus of the self-governing Socialist Autonomous Province of Kosova in 1989 were seriously challenged. The biggest challenge and the first public re-appearance of the new colonial aspirations of Serbia in politics came in spring 1981, following the demonstrations of Albanian students of the University of Prishtina. The demonstrations of 1981 are nowadays called also ÅThe (Albanian) spring 1981Â. Many publications or master dissertations are written by those, today in power, who claim to be the organizers or sponsors of the ÅThe (Albanian) spring 1981Â. In the media representation of 2011 on this event, there is one additional problem that is appearing: a color photograph of demonstrations organized in 1990, now appearing in black and white, is being used in media to document 1981. What happened to the image of Hydajet Hyseni with mustaches in 1981, up on a tree in the center of Prishtina speaking through a megaphone? And what is the difference between the demonstrations in 1981 and those in 1990? Albanians where again on the streets in 1981 and 1990. In the demonstrations of the spring of 1981 Albanians were both the demonstrators and the police. In 1981 the League of Communists of Kosova was the party running the Socialist Autonomous Province of Kosova. In 1981 Mahmut Bakalli was still the Chairmen of the Central Committee of the League of Communists of Kosova. Mahmut Bakalli graduated from the University of Belgrade's Faculty of Political Science. Bakalli's political career started in the youth organization of the League of Communists of Kosovo, eventually becoming its leader in 1961. In 1967, he became head of the party's Prishtina committee. As he rose through the ranks, he was subsequently elected to the Central Committee of the Communist League of Serbia, and to the Presidium of the League of Communists of Yugoslavia's Central Committee. Bakalli led the Communist Party in Kosovo during the late 1970s until 1981. He resigned in 6 May 1981 after the demonstrations of the Albanian students. If you google Hydajet Hyseni 1981, one of the leaders of the demonstrations of the spring of 1981 you can also find this description bellow the real image of 1981 (now missing): ÅThen Hydajet Hyseni, an activist, reputed founder of a Marxist-Leninist group and a journalist from the Kosovo Albanian daily paper Rilindja, who had recently been hiding, climbed a tree and spoke to the demonstrators in front of the Communist Party building and urged them not to stop. In this way he became known as the Che Guevara of Kosovo. (Daut) Dauti says: "People were saying we should be free from Serbian domination. There was a feeling that [despite autonomy] key positions were still held by Serbs and pro-Serb Albanians." In the image from 1990, now displayed as the image of 1981, Albanians were only the demonstrators. The used image documents the demonstrations organized in August 1990 during the visit of the American delegation in Kosova headed by Bob Dole, and six other senators of the senate of the United States. In 1990 Kosova was under Serbian occupation. League of Communists of Kosova seized to exist. The police in the image from 1990 was the Serbian police part of the oppressive apparatus of the Serbian occupation. All this brings me to few questions, relevant for Back to the future. What is the image of the work of Rexhep Ferri in all these years? How did this social complexity find a presence in the modernist paintings of Rexhep Ferri and other modernist painters and texts? And, what is the role of collections of art and the role of institutions that work with and collect art in the narratives of one country? Can these items, when collected randomly and without the contextualization of their creation, play any role in art of today? Is the missing (historical) context related to the missing department or art history that was never created as a part of any university or other education institutions in Kosova? Are attempts to erase contemporary art in Kosova connected with the attempt to erase modernism in this society? To quote from the study by GÃzim QÃndro, an art critic based in Tirana, for the Monograph on the work of Rexhep Ferri published recently by the The Academy of Sciences and Arts of Kosova: ÅModernism for a country like Kosova had a significance that went beyond the mere connection with art and literature. This is because, modernism in Europe undermined the foundations of the world Europeans were living in up to those times, though, in contradiction with what is commonly thought, the break with the tradition never happened to the scale it is commonly ascribed with. The essence of this novelty dwells in the self-criticism, an inexhaustible introspection when it comes to the discussion of the foundations of Western Civilization, which was openly introduced by the modern epoch. The majority of the Kosovar society reacted positively to modernism by accepting its initial reformist, social and cultural character. The attempt to incorporate the concept of self-critique in a conservative society as was Kosova in the Â50 - Â60, was with no doubt appraisable, though for my humble thinking, a positive reaction to modernism and novelty was merely reached by the cultural elite and a part of the middle class living in the major cities. My question is: What is the feeling between ÅThe (Albanian) Spring 1981Â, the destruction of the Kosovar society and state apparatus of Socialist Autonomous Province of Kosova (The Modernism in Kosova), the Serbian occupation of Kosova and the Newborn project state of Kosova? And how can we project (the missing) modernism as a reality in the age of Lady Gaga? Back to the future by Stacion - Center for Contemporary Art Prishtina is a quest to capture time through selected art works and texts and work in contextualizing the time and geography connected with the outstanding works that are in the focus of these exhibitions and an investment in creating a space for future credible reflections on works of generations of artists for the next generation of artists. Albert Heta April 2011 Stacion - Center for Contemporary Art Prishtina Zija Prishtina Street n.n. 10000 Prishtina Republic of Kosoves +381-(0)38-222-576 info@stacion.org www.stacion.org * * <http://www.knotland.net/index.php?id=13&tx_ttnews%5Btt_news%5D=483&cHash=903daf1680a47402cb27df41501fbcbe> _______________________________________________ Nettime-ro mailing list Nettime-ro@nettime.org http://www.nettime.org/cgi-bin/mailman/listinfo/nettime-ro --> arhiva: http://amsterdam.nettime.org/