P\u00ebrgjat\u00eb shekujve grat\u00eb kan\u00eb qen\u00eb t\u00eb p\u00ebrfshira n\u00eb t\u00eb b\u00ebmat artistike, si kreatore apo edhe shpik\u00ebse t\u00eb formave t\u00eb reja shpreh\u00ebse artistike, mb\u00ebshtet\u00ebse ndaj artist\u00ebve t\u00eb rinj, koleksionuese, burim frym\u00ebzimesh, apo edhe kontribuese si kuroatore dhe historiane arti. Grat\u00eb kan\u00eb qen\u00eb dhe mbeten pjes\u00eb e pandashme e institucioneve t\u00eb artit, por p\u00ebrve\u00e7 p\u00ebrfshirjes s\u00eb tyre t\u00eb llojllojshme n\u00eb bot\u00ebn e artit, shum\u00eb gra artiste kan\u00eb gjetur veten t\u00eb limituara n\u00eb barrierat e rr\u00ebfimeve tradicionale s\u00eb historis\u00eb s\u00eb artit. Ato jan\u00eb ballafaquar me sfida p\u00ebr shkak t\u00eb paragjykimeve gjinore, nga v\u00ebshtir\u00ebsit\u00eb n\u00eb p\u00ebrgatitje formative e deri te shitja e veprave dhe njohja e tyre si artiste. Po si i\u2019a kan\u00eb dal\u00eb grat\u00eb t\u00eb ecin p\u00ebrpara dhe t\u00eb b\u00ebhen z\u00ebra kaq t\u00eb fuqish\u00ebm n\u00eb art dhe histori t\u00eb artit sot? Cila \u00ebsht\u00eb e m\u00ebnyra e duhur e tregimit t\u00eb historive t\u00eb atyre q\u00eb u harruan nga historia?<\/p>\n\n\n\n
Si jan\u00eb p\u00ebrfaq\u00ebsuar, n\u00ebnp\u00ebrfaq\u00ebsuar, dhe keq p\u00ebrfaq\u00ebsuar grat\u00eb n\u00eb histori t\u00eb artit?<\/strong><\/p>\n\n\n\n Sipas nj\u00eb tregimit nga \u201cPlaku Plini\u201d nj\u00eb shkrimtar Romak i shekullit t\u00eb par\u00eb C.A., vizatimi i par\u00eb i b\u00ebr\u00eb ndonj\u00ebher\u00eb ishte nga nj\u00eb grua me emrin Dibutades, e cila ndoqi hijen e t\u00eb dashurit t\u00eb saj n\u00eb mur. N\u00ebqoft\u00ebse vendosni t\u00eb besoni k\u00ebt\u00eb gj\u00eb ose jo, vlen t\u00eb ceket se para s\u00eb gjithash mitologjia per\u00ebndimore na tregon se gruaja ishte artistja e par\u00eb, dhe artistet tjer\u00eb mor\u00ebn shum\u00eb pak v\u00ebmendje deri n\u00eb fund t\u00eb shekullit 20-t\u00eb. Q\u00eb nga antikiteti e tutje, vet\u00ebm nj\u00eb grup i vog\u00ebl i grave gjet\u00ebn udh\u00ebn e tyre n\u00eb tregimet e artist\u00ebve m\u00eb t\u00eb m\u00ebdhenj. Edhe at\u00ebher\u00eb ato shpesh u p\u00ebrshkruan si talente t\u00eb pazakonta t\u00eb cilat kap\u00ebrcyen limitet e gjinis\u00eb n\u00eb m\u00ebnyr\u00eb q\u00eb t\u00eb shquheshin n\u00eb at\u00eb q\u00eb besohej t\u00eb ishte fush\u00eb e burrave. Artistja Britaneze Mary Beale, ishte portretiste e suksesshme nga fundi i viteve 1600, por suksesi i saj m\u00eb shum\u00eb i\u2019u atribua faktit se bashk\u00ebshorti i saj ishte drejtuesi i studios ku ata punonin dhe ai prezantoi veprat e saj si eksperiment n\u00eb metodat pikturale q\u00eb ai zhvilloi. Gwen John vetportreti i s\u00eb cil\u00ebs paraqitet n\u00eb m\u00ebnyr\u00eb t\u00eb izoluar e t\u00eb ekzaminuar detajisht, hoqi shum\u00eb q\u00eb t\u00eb pranohej e njihej n\u00eb fush\u00ebn e dominuar prej burrave, duke p\u00ebrfshir\u00eb k\u00ebtu edhe v\u00ebllaun e saj Agustus.<\/p>\n\n\n\n N\u00eb m\u00ebnyr\u00eb sistematike p\u00ebr shekuj me radh\u00eb grat\u00eb mbet\u00ebn t\u00eb p\u00ebrjashtuara nga arkivat e historis\u00eb s\u00eb artit. Kjo ndodhi si shkak i disa faktor\u00ebve: format e artit si tekstili dhe ajo \u00e7ka ne e quajm\u00eb \u201cArti zbukurues\u201d u \u00e7\u2019vler\u00ebsua e u hodh posht\u00eb n\u00eb kategorin\u00eb e pun\u00ebdores e jo si \u201cArt i bukur\u201d; shum\u00eb grave nuk iu dha mund\u00ebsia t\u00eb synojn\u00eb p\u00ebr edukim t\u00eb p\u00ebrgjithsh\u00ebm, e l\u00ebre m\u00eb q\u00eb t\u00eb synojn\u00eb trajnime arti. Edhe burrat t\u00eb cil\u00ebt dominuan k\u00ebt\u00eb disiplin\u00eb si n\u00eb praktik\u00eb ashtu edhe n\u00eb histori gjithnj\u00eb besuan se grat\u00eb ishin artiste m\u00eb t\u00eb dob\u00ebta. Hans Hoffmann artist e m\u00ebsues kishte th\u00ebn\u00eb duke \u201clavd\u00ebruar\u201d piktoren me ndikim t\u00eb ekspresionizmit abstrakt n\u00eb mes t\u00eb shekullit t\u00eb 20-t\u00eb Lee Krasner: \u201c\u00cbsht\u00eb kaq e mir\u00eb (vepra e saj), sa nuk do ta dinit q\u00eb \u00ebsht\u00eb e b\u00ebr\u00eb nga nj\u00eb Grua\u201d. N\u00eb fillim t\u00eb viteve t\u00eb 60-ta, l\u00ebvizjet feministe mbi t\u00eb drejtat e barabarta mor\u00ebn hov, dhe grat\u00eb b\u00ebn\u00eb buj\u00eb n\u00eb m\u00ebsimdh\u00ebnie e studim t\u00eb artit n\u00eb shkollat Amerikane e n\u00eb Evrop\u00eb. K\u00ebto ngjarje u b\u00ebn\u00eb rrjet\u00ebzim p\u00ebr aktivitetet feministe, duke i inkurajuar e paraqitur grat\u00eb n\u00eb muze e galeri. Kjo l\u00ebvizje e grave nxiti nj\u00eb trup t\u00eb gjer\u00eb teorish e praktikash t\u00eb larmishme artistike. Duke i ridefinuar k\u00ebto praktika q\u00eb zhvilloheshin n\u00eb studio e me gjer\u00eb dhe n\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb duke i hapur udh\u00eb shum\u00eb grave artiste q\u00eb praktikojn\u00eb artin sot.<\/p>\n\n\n\n Grat\u00eb artiste n\u00eb shekullin e 20-t\u00eb: Nj\u00eb ndryshim peizazhi<\/strong><\/p>\n\n\n\n Grat\u00eb kan\u00eb qen\u00eb gjithmon\u00eb artiste, k\u00ebsisoj ato gjithmon\u00eb kan\u00eb gjetur nj\u00eb m\u00ebnyr\u00eb q\u00eb t\u00eb shfaqeshin qoft\u00eb edhe n\u00eb paraqitje t\u00eb shkurt\u00ebr brenda shoq\u00ebrive t\u00eb drejtuara nga burrat. Edhe kur b\u00ebhet fjal\u00eb p\u00ebr veprat m\u00eb t\u00eb hershme t\u00eb artit t\u00eb njohura p\u00ebr ne si: figura e kolm\u00eb (voulptuous) e Venusit nga Willendorf ne 25000 para Krishtit e gur\u00ebgdhendje t\u00eb tjera, q\u00eb askush se di me siguri n\u00ebse k\u00ebto vepra arti u krijuan nga gra apo burra. N\u00eb an\u00ebn tjet\u00ebr, objektet si endjet (thurjet, tjerrjet) dhe rrobaqepjet kan\u00eb qen\u00eb gjithmon\u00eb t\u00eb nd\u00ebrlidhura me zanatet e b\u00ebra nga grat\u00eb, q\u00eb nga historia e Penelop\u00ebs dhe endjet e guximshme t\u00eb p\u00eblhur\u00ebs n\u00eb eposin e Homerit n\u00eb tregimin mbi \u201cOdisen\u00eb\u201d, deri te Qilimi i Baiu-s\u00eb (Bayeaux) nga viti 800 para krishtit e deri n\u00eb shekullin e 11-t\u00eb, nj\u00eb qilim ky i gjat\u00eb prej 82 metrash dokumenton p\u00ebr historin\u00eb e Birtanis\u00eb mesjetare, shtofin e t\u00eb cilit me shum\u00eb gjas\u00eb e kishin q\u00ebndisur grat\u00eb. Dhe grat\u00eb serish vazhduan t\u00eb ballafaqoheshin edhe n\u00eb shekujt n\u00eb vazhdim me v\u00ebshtir\u00ebsit\u00eb n\u00eb p\u00ebrpjekjet e tyre p\u00ebr p\u00ebrfshirje n\u00eb bot\u00ebn e artit n\u00eb zhanre t\u00eb caktuara. Por gj\u00ebrat ndryshuan me ardhjen e t\u00eb 20-tave, n\u00eb fillim t\u00eb k\u00ebtij shekulli ky ndryshim nuk erdhi vet\u00ebm p\u00ebr grat\u00eb artiste por p\u00ebr grat\u00eb amvise dhe ato t\u00eb p\u00ebrfshira n\u00eb sferat publike.<\/p>\n\n\n\n Nj\u00eb theks i ve\u00e7ant\u00eb i k\u00ebsaj l\u00ebvizje t\u00eb grave ishte n\u00eb avokimin mbi t\u00eb drejta e barabarta, organizata t\u00eb p\u00ebrkushtuara p\u00ebr v\u00ebmendje ndaj grave, dhe gjenerat\u00eb krejt\u00ebsisht e re e grave profesioniste e artiste transformuan zakonet e vjetra t\u00eb nj\u00eb shoq\u00ebrie t\u00eb drejtuar e t\u00eb strukturuar nga burrat n\u00eb t\u00eb gjith\u00eb bot\u00ebn. K\u00ebto ndryshime sociale, t\u00eb cilat filluan t\u00eb p\u00ebrhapeshin n\u00eb fillim t\u00eb shekullit, u zhvilluan edhe m\u00eb tutje me hyrjen e luft\u00ebs s\u00eb par\u00eb bot\u00ebrore dhe u zgjeruan me hov t\u00eb madh globalisht, duke inkurajuar m\u00eb shum\u00eb gra t\u00eb b\u00ebhen pjes\u00eb e fuqis\u00eb pun\u00ebtore dhe k\u00ebsisoj duke i shtyr\u00eb ato t\u00eb paraqiten m\u00eb shum\u00eb n\u00eb hap\u00ebsira sociale, profesionale e \u00e7\u00ebshtje politike q\u00eb m\u00eb par\u00eb kishin qen\u00eb t\u00eb zakonshme ve\u00e7 p\u00ebr burra.<\/p>\n\n\n\n P\u00ebrkund\u00ebr se t\u00eb margjinalizuara e t\u00eb p\u00ebrjashtuara nga an\u00ebtar\u00ebt burra t\u00eb grupit, artistet si Helen Saunders dhe Jessica Dismorr ishin ato q\u00eb udh\u00ebhoq\u00ebn e realizuan idet\u00eb n\u00eb l\u00ebvizjen e Vorticist. Piktorja franqeze Francoise Gilot krijoi nj\u00eb stil vizuel dhe identitet t\u00ebr\u00ebsisht t\u00eb saj, pavar\u00ebsisht se ajo ishte e njohur si e dashura e Pablo Pikasos dhe punoi n\u00eb af\u00ebrsi me artist t\u00eb m\u00ebdhenj si Henri Matisse e Fernand Leger n\u00eb 1940-tat. Piktoret e zhanrit surealist dhe skulptoret si Elieen Agar e Louise Bourgeois ishin iconoclasts (kritike) n\u00eb eksplorimet mbi mendjen e trupin, duke zhvilluar ide mbi fluiditetin, intimitetin, e n\u00eb m\u00ebnyr\u00eb t\u00eb hapur edhe p\u00ebr temat mbi seksin. Cilat \u00e7\u00ebshtje vendos\u00ebn t\u2019i adresonin grat\u00eb p\u00ebrmes artit t\u00eb tyre? P\u00ebr shkak t\u00eb ndryshimeve kontekstuale, sociale e zhvillimore qysh n\u00eb vitet 1960-ta duke u mb\u00ebshtetur n\u00eb to\u2019 nga fillim i shekullit 20-t\u00eb, shum\u00eb gra artiste aktualisht adresojn\u00eb \u00e7\u00ebshtje personale e nd\u00ebrkomb\u00ebtare mbi identitetin, duke eksploruar n\u00eb politikat globale e disaporike. Artistet m\u00ebrgimtare si Mona Hatoum e Shirin Neshat na tregojn\u00eb p\u00ebr storiet mbi humbjen dhe ndjesit\u00eb e brendshme n\u00eb vendet e konfliktit, p\u00ebr kultur\u00ebn, dhe rolet gjinore. N\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb artistja Sonia Boyce, n\u00ebp\u00ebrmjet filmit, fotografis\u00eb e pikturave sjell n\u00eb pah stereotipet raciste.<\/p>\n\n\n\n T\u00eb tjera artiste gra p\u00ebrdor\u00ebn artin e tyre p\u00ebr t\u00eb folur p\u00ebr \u00e7\u00ebshtje specifike q\u00eb ato si gra p\u00ebrballeshin. N\u00eb 1970, Margaret Harrison p\u00ebrdori vizatime t\u00eb gjall\u00ebruara e ironike p\u00ebr t\u00eb v\u00ebn\u00eb n\u00eb dukje objektivizimin me t\u00eb cil\u00ebn ballafaqoheshin grat\u00eb n\u00eb p\u00ebrditshm\u00ebrin\u00eb e tyre. N\u00eb po t\u00eb nj\u00ebjt\u00ebn dekad\u00eb artistja Linder vizatoi frym\u00ebn e rrym\u00ebs punk dhe q\u00ebllimin e politik\u00ebs s\u00eb Dadas (L\u00ebvizje nd\u00ebrkomb\u00ebtare e shekullit 20-t\u00eb frym\u00ebzuar n\u00eb muzik\u00eb, art, film, fotografi p\u00ebr t\u00eb nxjerr\u00eb natyr\u00ebn satirike dhe t\u00eb pa-kuptimit t\u00eb dukurive negative n\u00eb shoq\u00ebri) duke krijuar fotomontazhe t\u00eb cilat p\u00ebrmbysin imazhet q\u00eb p\u00ebrcjellin q\u00ebndrime shqet\u00ebsuese n\u00eb mediat tradicionale. Regjisorja Barbara Hammer p\u00ebrdori pamje filmike t\u00eb trupit t\u00eb saj p\u00ebr t\u00eb promovuar hapur seksualitetin lezbik, nd\u00ebrsa artiste n\u00eb dit\u00ebt e sotshme si Cornelia Parker po na inkurajojn\u00eb q\u00eb t\u00eb mendojm\u00eb m\u00eb thell\u00eb mbi imazhin e idealizuar t\u00eb standardeve t\u00eb bukuris\u00eb t\u00eb trupit t\u00eb grave t\u00eb cilat me pas vihen n\u00eb krahasim t\u00eb zhdrejt\u00eb me figur\u00ebn realistike t\u00eb grave reale. Duke v\u00ebn\u00eb n\u00eb dukje identitetin, seksualitetin, politik\u00ebn dhe historin\u00eb, grat\u00eb artiste kan\u00eb dominuar n\u00eb debatet mbi artin p\u00ebr k\u00ebto dekadat e fundit. Por si t\u2019ia b\u00ebjm\u00eb q\u00eb t\u00eb flasim p\u00ebr ato gra q\u00eb historia i ka harruar?<\/p>\n\n\n\n Si t\u2019i tregojm\u00eb storiet e grave artiste t\u00eb harruara sot?<\/strong><\/p>\n\n\n\n A mendoni se kurset, librat e muzet\u00eb t\u00eb cilat kan\u00eb qen\u00eb t\u00eb dedikuara posa\u00e7\u00ebrisht p\u00ebr grat\u00eb artiste mund t\u00eb jen\u00eb disi p\u00ebrjashtuese? A e m\u00ebnjanojn\u00eb k\u00ebto prodhimin kulturor\u00eb nga grat\u00eb duke i deklaruar ato si di\u00e7ka t\u00eb ve\u00e7ant\u00eb nga zhanret artistike p\u00ebrkat\u00ebse n\u00eb historin\u00eb e artit tradicional? N\u00eb an\u00ebn tjet\u00ebr kjo qasje e t\u00eb shtuarit t\u00eb emrave t\u00eb grave n\u00eb k\u00ebto zhanre t\u00eb ve\u00e7anta artistike do t\u00eb p\u00ebrforconte nj\u00eb udh\u00eb tradicionale n\u00eb histori t\u00eb artit pa e sfiduar at\u00eb? Dhe duke mos i etiketuar n\u00eb termin \u201cGra artiste\u201d po e krijojm\u00eb nj\u00eb udh\u00eb qorre q\u00eb pa dashje na lidh\u00eb midis gjinis\u00eb, biografis\u00eb dhe rezultateve krijuese?<\/p>\n\n\n\n K\u00ebto e pyetje t\u00eb tilla artist\u00ebt e historian\u00ebt po vazhdojn\u00eb ti shtjellojn\u00eb sot. Grupe si Vajzat Luft\u00ebtare – (Guerrilla Girls), komunitet ky i grave artiste dhe profesioniste t\u00eb artit, t\u00eb cilat s\u00eb bashku luftojn\u00eb diskriminimet dhe ngrisin vet\u00ebdijen p\u00ebr \u00e7\u00ebshtje me t\u00eb cilat p\u00ebrballen grat\u00eb n\u00eb bot\u00ebn e artit sot. N\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb ato paraqesin pak\u00ebnaq\u00ebsit\u00eb me intervenime skenike e protesta, duke veshur maska n\u00eb form\u00eb gorille p\u00ebr t\u00eb shp\u00ebrqendruar publikun nga identiteti i tyre i v\u00ebrtet\u00eb. Reforma e tyre q\u00ebndron n\u00eb m\u00ebnyr\u00ebn e parashtrimit t\u00eb pyetjeve: \u201cPse historia per\u00ebndimore nuk ka pasur m\u00eb shum\u00eb artiste t\u00eb m\u00ebdha gra? Dhe n\u00eb vend t\u00eb k\u00ebsaj t\u00eb pyesim: \u201cPse nuk jan\u00eb konsideruar m\u00eb shum\u00eb gra artiste t\u00eb m\u00ebdha p\u00ebrgjat\u00eb historis\u00eb per\u00ebndimore?<\/p>\n\n\n\n Projektet q\u00eb synojn\u00eb k\u00ebrkimin e grave artiste t\u00eb p\u00ebrjashtuara nga zhanret e caktuara artistike na kan\u00eb inkurajuar q\u00eb t\u00eb ridefinojm\u00eb vet\u00eb k\u00ebto praktika t\u00eb artit, duke na ftuar q\u00eb t\u00eb rimendojm\u00eb at\u00eb \u00e7ka ne e quajm\u00eb \u201cart zbukurues\u201d artet tre-dimensionale, dhe artet p\u00ebrformative t\u00eb shoq\u00ebruar nga trupa artistike. Duke i inkurajuar k\u00ebshtu edhe shum\u00eb studiues q\u00eb t\u00eb vihen n\u00eb k\u00ebrkim t\u00eb k\u00ebtyre grave t\u00eb harruara, projekt ky i cili vazhdon edhe sot. Me nj\u00eb p\u00ebrhapje p\u00ebrtej zhanreve artistike per\u00ebndimore p\u00ebr t\u00eb p\u00ebrfshir\u00eb m\u00eb shum\u00eb gra t\u00eb racave t\u00eb ndryshme nga e gjith\u00eb bota, gra t\u00eb cilat na ndihmuan t\u00eb kuptojm\u00eb se nuk ka di\u00e7ka si \u201cArti i grave\u201d po art i cili \u00ebsht\u00eb p\u00ebrpunuar e riformuar nga kultura, q\u00eb mbart\u00eb n\u00eb vete mbrojtjet kulturore mbi bukurin\u00eb, gjinin\u00eb, pushtetin, dhe n\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb ne mund ta p\u00ebrdorim si nj\u00eb instrument t\u00eb fuqish\u00ebm p\u00ebr t\u00eb ngritur pyetje mbi \u00e7\u00ebshtjet e rac\u00ebs, klasave, e identitetit.<\/p>\n\n\n\n