{"id":51499,"date":"2020-02-26T23:02:05","date_gmt":"2020-02-26T22:02:05","guid":{"rendered":"https:\/\/fjala.info\/?p=51499"},"modified":"2020-02-26T23:13:02","modified_gmt":"2020-02-26T22:13:02","slug":"kritika-kronika-arti-francis-bacon-te-pabotuara-lucian-freud-raffaella-e-tmerrshme-ese-shkrimi-per-dashurine","status":"publish","type":"post","link":"https:\/\/jehonashqiptare.al\/fjala\/kritika-kronika-arti-francis-bacon-te-pabotuara-lucian-freud-raffaella-e-tmerrshme-ese-shkrimi-per-dashurine\/","title":{"rendered":"KRITIKA, KRONIKA ARTI, FRANCIS BACON, T\u00cb PABOTUARA, LUCIAN FREUD, RAFFAELLA E TMERRSHME, ESE, SHKRIMI P\u00cbR DASHURIN\u00cb"},"content":{"rendered":"

Trupi Antihijeshi<\/em><\/p>\n

Nga FRANCESCO MAROTTA<\/strong><\/p>\n

Raffaella Terrible<\/strong><\/p>\n

P\u00cbR DASHURIN\u00cb<\/strong><\/h3>\n

Art dhe dashuri. Art dhe Passion. Arti dhe Trupi. Tema e trupit ka nj\u00eb rol ky\u00e7: \u00ebsht\u00eb objekti i dashuris\u00eb, instrument i k\u00ebnaq\u00ebsis\u00eb, ndjell\u00ebse e joshjes, objekt fetish. Prej koh\u00ebsh trupi ka qen\u00eb n\u00eb qend\u00ebr t\u00eb imagjinat\u00ebs s\u00eb artist\u00ebve, por nga fundi i shekullit n\u00ebnt\u00ebmb\u00ebdhjet\u00eb ka qen\u00eb objekt i nj\u00eb transformimi t\u00eb v\u00ebrtet\u00eb dhe t\u00eb drejt\u00eb: nga trupa t\u00eb l\u00ebmuar, perfekt, shprehje t\u00eb harmonis\u00eb dhe proporcioneve, arriti t\u00eb paraqes\u00eb shpesh trupa t\u00eb kockuar, t\u00eb tkurrur, t\u00eb mohuar, vend arratisjeje t\u00eb materies, trupa t\u00eb shkrir\u00eb, t\u00eb hedhur brutalisht mbi nj\u00eb kanavac\u00eb si copa mishi mbi banakun e nj\u00eb kasapi, sintez\u00eb e nj\u00eb gjendje t\u00eb keqe ekzistenciale, parandjenj\u00eb vdekjeje dhe korrupsioni. Nuk \u00ebsht\u00eb e v\u00ebrtet\u00eb se trupi dhe shpirti b\u00ebjn\u00eb jet\u00eb t\u00eb ve\u00e7ant\u00eb nga nj\u00ebri-tjetri: mishi b\u00ebhet pasqyr\u00eb e shqet\u00ebsimit t\u00eb brendsh\u00ebm q\u00eb i ka rr\u00ebnj\u00ebt thell\u00eb n\u00eb humbjen e unit.<\/p>\n

Kjo shpjegon dhun\u00ebn vizive evidente n\u00eb paraqitjen e trupave t\u00eb dehumanizuar, t\u00eb shp\u00ebrb\u00ebr\u00eb, t\u00eb deformuar, n\u00eb t\u00eb cil\u00ebt nuk kan\u00eb patos, ndjenja t\u00eb fuqishme q\u00eb frym\u00ebzojn\u00eb, p\u00ebr t\u2019i b\u00ebr\u00eb ata t\u00ebrheq\u00ebs, por nj\u00eb kuriozitet paradoksal patologjik drejt s\u00eb sh\u00ebmtuar\u00ebs dhe t\u00eb deformuar\u00ebs. Nj\u00eb ide q\u00eb sakt\u00ebsohet n\u00eb brend\u00ebsi t\u00eb nj\u00eb procesi q\u00eb n\u00eb m\u00ebnyr\u00eb t\u00eb pakthyeshme shkaktuar nga shqet\u00ebsimet, aty nga fundi i shekullit n\u00ebnt\u00ebmb\u00ebdhjet\u00eb dhe nga l\u00ebvizjet avantgardiste n\u00eb fillim t\u00eb shekullit t\u00eb nj\u00ebzet\u00eb, demonstron prodhimin e disa artist\u00ebve, duke ruajtur figurativizmin, ata e mohojn\u00eb humanizmin e subjektit q\u00eb duke e propozuar me indiferenc\u00eb, pa asnj\u00eb ndarjen emocionale, deri sa t\u00eb shtremb\u00ebrojn\u00eb njohjen e formave, duke deformuar n\u00eb m\u00ebnyr\u00eb ekspresive figur\u00ebn e njeriut, p\u00ebr ta b\u00ebr\u00eb at\u00eb t\u00eb ndihet “i ndrysh\u00ebm” dhe i neveritsh\u00ebm.<\/p>\n

“Zot\u00ebsia e Frojdit nuk \u00ebsht\u00eb aq shum\u00eb n\u00eb stilin pikturik, por n\u00eb m\u00ebnyr\u00ebn se si ai lidhet me modelin e tij, n\u00eb m\u00ebnyr\u00ebn me t\u00eb cil\u00ebn reagon ndaj saj, n\u00eb at\u00eb q\u00eb ai zgjedh q\u00eb t\u2019i tregoj\u00eb rreth bot\u00ebs s\u00eb saj (dhe edhe vetvetes) . Figurat e portretizuara nga Frojdi jan\u00eb pothuajse si natyra t\u00eb qeta, si piktura kafsh\u00ebsh, n\u00eb vend t\u00eb portreteve t\u00eb qenieve njer\u00ebzore. Tablot\u00eb e tij nuk na tregojn\u00eb p\u00ebr personalitetin e modeleve t\u00eb tij, por trupin e tyre, pozat e tyre. P\u00ebrve\u00e7 k\u00ebsaj, Frojdi duket se krijon n\u00eb observator ndjenj\u00ebn e pjes\u00ebmarrjes n\u00eb nj\u00eb seanc\u00eb psikologjike, ku ndodhet nj\u00eb psikoanalist i vjet\u00ebr dhe pacienti i tij”. (Richard Dorment, Daily Telegraph)<\/p>\n

Studimi i Luciano Freudit shum\u00ebfishohet si n\u00eb nj\u00eb kaleidoskop n\u00eb veprat e tij: shikojm\u00eb modelet t\u00eb shtrira mbi \u00e7ar\u00e7af t\u00eb nderur, modele nudo t\u00eb mb\u00ebshtetura mbi peshqir t\u00eb ngjyrosur me ngjyr\u00eb t\u00eb that\u00eb p\u00ebr t\u00eb mbuluar dyshemen\u00eb, t\u00eb mb\u00ebshtetura mbi muret q\u00eb duken se kullojn\u00eb lag\u00ebshti, ku nganj\u00ebher\u00eb, midis suvas\u00eb s\u00eb g\u00ebrryer, duket se dallon numra telefonash t\u00eb zbehur, t\u00eb shkruara me stilolaps. N\u00eb nj\u00eb trup fem\u00ebror si n\u00eb at\u00eb mashkullor se si artisti tregon v\u00ebmendje drejt realizmit t\u00eb skajsh\u00ebm, duke zgjedhur subjekte nga barku i shquar, me dhjam\u00ebzim i duksh\u00ebm, me proporcione, sigurisht, jo ideale, n\u00eb nj\u00eb rik\u00ebrkim patologjik “antigraceful” dhe n\u00ebp\u00ebrmjet veshjes s\u00eb guask\u00ebs, braktisur pa m\u00ebshir\u00eb nga drita n\u00eb t\u00eb gjitha t\u00eb metat e saj, nxjerr n\u00eb pah natyr\u00ebn e personazheve, peneli n\u00eb dor\u00ebn e tij b\u00ebhet nj\u00eb bisturi q\u00eb pret, gdhend, \u00e7an, duke zbuluar ankthe, frik\u00eb, mundime.<\/p>\n

Jan\u00eb veprat q\u00eb pengojn\u00eb v\u00ebzhguesin duke mohuar pritjet e tij p\u00ebr k\u00ebnaq\u00ebsi estetike, megjithat\u00eb josheni t\u00eb mahnitur nga k\u00ebta trupa t\u00eb ekspozuar n\u00eb lakuriq\u00ebsin\u00eb e tyre totale, nga k\u00ebto fytyra q\u00eb shohin pa v\u00ebshtruar. Trupi k\u00ebtu, nuk \u00ebsht\u00eb objekt erotik. Dhe nuk mund t\u00eb jet\u00eb. Atij i mungon joshja ose kapsallitja e shthurur e syrit. Ata jan\u00eb t\u00eb privuar nga seksi, si t\u00eb thuash, p\u00ebr shkak se seksi \u00ebsht\u00eb kafsh\u00ebror, \u00ebsht\u00eb jet\u00eb, \u00ebsht\u00eb pulsim venash dhe arteriesh t\u00eb ngrira, edhe pse organet seksuale jan\u00eb realizuar me indiferenc\u00eb totale.<\/p>\n

N\u00eb piktur\u00ebn \u201cAnd the Bridegroom\u201d (2001) shihet nj\u00eb \u00e7ift q\u00eb shtrihet mbi nj\u00eb shtrat nj\u00ebri af\u00ebr tjetrit Leight Bovery, artisti dhe interpretuesi australian dhe shoqja e tij Nicola Bateman). Gruaja ka nj\u00eb trup t\u00eb holl\u00eb, pothuajse trup vajze, me l\u00ebkur\u00eb t\u00eb zbeht\u00eb, n\u00eb kontrast me “dinjitetin dhe ngjyr\u00ebn e err\u00ebt t\u00eb l\u00ebkur\u00ebs s\u00eb burrit, shum\u00eb m\u00eb masiv dhe m\u00eb i vjet\u00ebr se ajo. Ajo fle kruspull n\u00eb pozicionin e nj\u00eb fetuesi, p\u00ebrball\u00eb v\u00ebzhguesit, me nj\u00eb krah t\u00eb palosur p\u00ebrpara fytyr\u00ebs dhe mas\u00ebs s\u00eb flok\u00ebve t\u00eb gjat\u00eb ngjyr\u00eb kafe q\u00eb zbresin nga krevati. Fytyra duket qet\u00ebsisht e pavet\u00ebdijshme. Nj\u00eb imazh i braktisjes totale t\u00eb f\u00ebmij\u00ebris\u00eb, t\u00eb but\u00ebsis\u00eb, t\u00eb c\u00ebnueshm\u00ebris\u00eb. Nuk \u00ebsht\u00eb nj\u00eb trup fem\u00ebror vokativ i seksualitetit, edhe pse konteksti \u00ebsht\u00eb ai i nj\u00eb shtrati t\u00eb shprishur, ku \u00e7ifti sapo kishte mbaruar s\u00eb b\u00ebri dashuri.<\/p>\n

Shoku i saj pushon me kurriz, me k\u00ebmb\u00eb t\u00eb hapura, me seksin e ekspozuar e me nj\u00eb k\u00ebmb\u00eb t\u00eb p\u00ebrkulur. Nj\u00eb pozicion q\u00eb evokon forc\u00eb, fuqi, duke marr\u00eb posedimin e hap\u00ebsir\u00ebs (shtrati \u00ebsht\u00eb gati t\u00ebr\u00ebsisht i mbushur me trupin e tij t\u00eb r\u00ebnd\u00eb). Koka \u00ebsht\u00eb kthyer nga ana e kund\u00ebrt. N\u00eb mes t\u00eb dyve ka vet\u00ebm nj\u00eb vazhdim\u00ebsi fizike (trupi i saj prek me k\u00ebmb\u00eb trupin e tij). Jan\u00eb dy realitete, dy bot\u00eb t\u00eb ndara, q\u00eb rasti e deshi t\u00eb ishin n\u00eb at\u00eb shtrat, n\u00eb ata \u00e7ar\u00e7af. Miq\u00ebsia e ngusht\u00eb q\u00eb ndiejm\u00eb na l\u00eb hap\u00ebsir\u00eb t\u00eb mbajm\u00eb q\u00ebndrim natyror t\u00eb gjumit dhe pamund\u00ebsin\u00eb e ndarjes edhe kur trupat fshiken n\u00eb m\u00ebnyr\u00eb t\u00eb pavet\u00ebdijshme. Imazhi \u00ebsht\u00eb i s\u00eb v\u00ebrtet\u00ebs absolute dhe natyrshm\u00ebris\u00eb, por me t\u00eb nj\u00ebjt\u00ebn t\u00eb v\u00ebrtet\u00eb absolute dhe natyrshm\u00ebrie t\u00eb nj\u00eb natyre t\u00eb qet\u00eb, ku gj\u00ebrat si memece presin dor\u00ebn e njeriut q\u00eb t\u00eb shformoj\u00eb e t\u00eb formoj\u00eb reassemble nj\u00eb rend t\u00eb paracaktuar.<\/p>\n

“… E v\u00ebrteta p\u00ebrmban nj\u00eb element zbules\u00ebs. N\u00ebse nj\u00eb gj\u00eb \u00ebsht\u00eb e v\u00ebrtet\u00eb, kjo e b\u00ebn t\u00eb impresionoj\u00eb pak m\u00eb shum\u00eb p\u00ebr t\u00eb vetmin fakt e “t\u00eb qenit e till\u00eb…<\/em>” (L. Freud). Trupi i reduktuar n\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb, njeriu i reduktuar n\u00eb objekt, n\u00eb nj\u00eb objekt t\u00eb cilit i shihet \u00e7do gj\u00eb edhe pa e hapur, por si nj\u00eb objekt, me – seks t\u00eb nj\u00ebjt\u00eb dhe pa shpirt. Hetimi analitik i artistit, shtyn n\u00eb dalldin\u00eb e vizionit lentikular, tregon sip\u00ebrfaqet me goditje peneli, p\u00ebrshkruan rrudhat, qukat, kokrrat e epiderm\u00ebs me rrjet\u00ebn themelore t\u00eb kapilar\u00ebve, shk\u00eblqen n\u00eb mukoz\u00ebn e sekseve t\u00eb ekspozuar me cifla me ngjyra t\u00eb ndritshme, por pa nj\u00eb hije erotizmi. Ajo q\u00eb shihet, “\u00ebsht\u00eb”: grada zero e mendimit, kjo \u00ebsht\u00eb shkalla zero e kuptimit, t\u00eb pavarur t\u00eb vet\u00ebdijes s\u00eb saj.<\/p>\n

\"\" \u00ab… Piktura ime \u00ebsht\u00eb kryesisht instinkt. \u00cbsht\u00eb nj\u00eb instinkt, nj\u00eb intuit\u00eb q\u00eb m\u00eb shtyn t\u00eb pikturoj mishin e njeriut, sikur ai t\u00eb p\u00ebrhapej jasht\u00eb trupit, sikur t\u00eb ishte hija e tij. K\u00ebshtu e shoh un\u00eb at\u00eb. Instinkti p\u00ebrzihet me jet\u00ebn. Un\u00eb k\u00ebrkoj t\u00eb afroj sa t\u00eb jet\u00eb e mundur objektin, dhe e dua k\u00ebt\u00eb n\u00eb krahasim me mishin, k\u00ebt\u00eb zhvoshkje autentike t\u00eb jet\u00ebs n\u00eb gjendje bruto.<\/i>\u00bb (F. Bacon)<\/p>\n

Shp\u00ebrb\u00ebrja e trupit shfaqet n\u00eb nj\u00eb proces zhvoshkje n\u00eb vepr\u00ebn e Francis Bekonit: trupi dhunohet, ekspozohet n\u00eb m\u00ebnyr\u00eb t\u00eb paturpshme n\u00eb anatomin\u00eb e vet t\u00eb brendshme, pa pasur m\u00eb sekrete, i mpakur n\u00eb nj\u00eb p\u00ebrb\u00ebrje kafshe q\u00eb mohon hapur natyr\u00ebn njer\u00ebzore. Fotografit\u00eb paraqesin periudh\u00ebn e pun\u00ebs e ethshme t\u00eb artistit n\u00eb nj\u00eb studio kaotike, plot letra, foto, copa t\u00eb prera gazetash piktura t\u00eb sapofilluara, zhele t\u00eb ngjyrosura me materiale pikture, ngjyra e qum\u00ebshtit n\u00eb t\u00eb gjith\u00eb dyshemen\u00eb, shirita e ngjyra mbi mure. Nj\u00eb mjedis i ngopur me kaos t\u00eb past\u00ebr, ku artisti gjen nj\u00eb meditim t\u00eb mbyllur, nj\u00eb lloj pastrimi i shpirtit nga kanceri n\u00eb t\u00eb bardh\u00eb t\u00eb past\u00ebr e kanavace: ja q\u00eb at\u00ebher\u00eb p\u00ebrcaktohen prejardhje p\u00ebrshkruese, fushat me ngjyra neto, t\u00eb rregullta, p\u00ebr t\u00eb hartuar nj\u00eb rregull euklidin q\u00eb p\u00ebrmban nj\u00eb kontenier gjeometrik me figura me shije t\u00eb shekullit pes\u00ebmb\u00ebdhjet\u00eb: Nj\u00eb rend n\u00eb \u00e7rregullimin, ku gj\u00ebrat magjikisht korrigjojn\u00eb skem\u00ebn e tyre t\u00eb zakonshme, rigjejn\u00eb arsyen e ekzistenc\u00ebs, b\u00ebjn\u00eb sistemin.<\/p>\n

Por k\u00ebta kontenier\u00eb t\u00eb modelit t\u00eb tyre t\u00eb zakonsh\u00ebm, t\u00eb gjejn\u00eb arsyen e tyre p\u00ebr t\u00eb ekzistuar, b\u00ebjn\u00eb sistemin. Por k\u00ebto kontejner\u00eb hap\u00ebsirash q\u00eb duket se evokojn\u00eb heshtjet e Pjero della Franceska, bashk\u00ebngjitin dridhjet e zem\u00ebrimit, t\u00eb gjarp\u00ebrimeve t\u00eb pasionit, luzm\u00ebn n\u00ebn l\u00ebkur\u00ebn e tensioneve t\u00eb padukshme q\u00eb zb\u00ebrthejn\u00eb figurat, i deformojn\u00eb, me prekje t\u00eb ngjyr\u00ebs s\u00eb thuk\u00ebt. Ky mutacion e mban l\u00ebkur\u00ebn q\u00eb vazhdon n\u00eb m\u00ebnyr\u00eb t\u00eb pandalshme si nj\u00eb tabu deri sa i b\u00ebn trupat amorf\u00eb, pastaj dehumanizuar n\u00eb form\u00eb, por gjithmon\u00eb t\u00eb gjall\u00eb n\u00eb rast t\u00eb nj\u00eb dhimbje q\u00eb mund t\u00eb jet\u00eb vet\u00ebm njer\u00ebzore. Ky \u00ebsht\u00eb, besoj, motivi themelor i impaktit t\u00eb pak\u00ebndsh\u00ebm dhe i ankthit t\u00eb veprave t\u00eb Bekonit: nj\u00eb humbjen n\u00eb nj\u00eb form\u00eb q\u00eb nuk mund t\u00eb shmanget p\u00ebr t\u00eb njohur vazhdim\u00ebsin\u00eb e njeriut si dhimbje dhe d\u00ebshp\u00ebrim.<\/p>\n

\u00abUn\u00eb doja t\u00eb b\u00ebja nj\u00eb piktur\u00eb” klinike “n\u00eb kuptimin tim t\u00eb termit, kuptoni? Punimet m\u00eb t\u00eb m\u00ebdha artistike jan\u00eb “klinike … N\u00eb anglisht thuhet klinikal. Kur p\u00ebrdor fjal\u00ebn “klinike” dua t\u00eb tregoj realizmin m\u00eb absolut. N\u00eb fakt, \u00ebsht\u00eb e pamundur p\u00ebr ta p\u00ebrcaktosh at\u00eb, \u00ebsht\u00eb e pamundur t\u00eb flas\u00ebsh p\u00ebr t\u00eb … Nj\u00eb lloj realizmi, por jo domosdoshm\u00ebrish i ftoht\u00eb. T\u00eb jesh “klinike” nuk do t\u00eb thot\u00eb t\u00eb jesh i ftoht\u00eb; \u00ebsht\u00eb nj\u00eb q\u00ebndrim, \u00ebsht\u00eb si t\u00eb pres\u00ebsh di\u00e7ka. Por \u00ebsht\u00eb e pamohueshme se n\u00eb \u00e7do gj\u00eb ka ca ftoht\u00ebsi dhe distanc\u00eb. A priori, nuk ka ndjenja. Dhe, paradoksalisht, kjo mund t\u00eb shkaktoj\u00eb nj\u00eb ndjenj\u00eb t\u00eb madhe<\/em>.\u00bb”<\/p>\n

Klinike “do t\u00eb thot\u00eb q\u00eb t\u00eb jesh, mund\u00ebsisht, sa m\u00eb af\u00ebr realizmit, t\u2019i jesh af\u00ebr, n\u00eb pjes\u00ebn m\u00eb t\u00eb thell\u00eb vetes. “Klinike” do t\u00eb thot\u00eb ekzakt\u00eb dhe i mpreht\u00eb. Realizmi \u00ebsht\u00eb di\u00e7ka q\u00eb krijon telashe.”<\/p>\n

Ndonj\u00ebher\u00eb ajo q\u00eb mbetet e njohur \u00ebsht\u00eb vet\u00ebm nj\u00eb goj\u00eb e hapur s\u00eb katrash, e cila t\u00eb sjell n\u00eb mendje Klithm\u00ebn e Munch. Nj\u00eb piskam\u00eb q\u00eb d\u00ebgjohet dhe, n\u00eb vend q\u00eb t\u00eb p\u00ebrcaktohet n\u00eb linj\u00eb val\u00ebzimi e ngjyrash t\u00eb ngopura, Kjo duket se shkulmon nga brenda e trupit duke i deformuar substanc\u00ebn, duke e grimcuar struktur\u00ebn skeletore, duke e fryr\u00eb veshjen e guask\u00ebs. Ashtu si Frojdi, Bekoni, gjithashtu, p\u00ebrdor modele t\u00eb ndryshme t\u00eb cilat i portretizon n\u00eb studimin e tij, gati si t\u00eb rind\u00ebrtoj\u00eb nj\u00eb gjeografi t\u00eb brendshme t\u00eb pozicioneve rituale.<\/p>\n

Si Picaso, edhe Bekoni, gjithashtu, shtremb\u00ebron anatomin\u00eb, por nuk rind\u00ebrton nj\u00eb dimension t\u00eb kat\u00ebrt duke zgjidhur form\u00ebn me prejardhje t\u00eb shesht\u00eb, thjesht ai k\u00ebmb\u00ebngul me njoll\u00eb t\u00eb zez\u00eb t\u00eb thell\u00eb, me q\u00ebllim q\u00eb t\u2019i b\u00ebj\u00eb v\u00ebllimet n\u00eb m\u00ebnyr\u00eb t\u00eb t\u00eb papritur dhe shqet\u00ebsuese. N\u00eb fillim t\u00eb shtat\u00ebdhjetave, Bekon i kushtohet realizimit t\u00eb Triptik\u00ebve, duke shpjeguar se kompozimi i tyre \u00ebsht\u00eb si ai i fotove mugshots. N\u00eb “Tre studimet e figurave n\u00eb shtret\u00ebr” (1972) shikimin e artistit e zgjedh nga tri k\u00ebnde t\u00eb ndryshme dy figurat e kap\u00ebrthyer n\u00eb nj\u00eb shtrat. Nuk \u00ebsht\u00eb dashuri, ose, po qe, \u00ebsht\u00eb dashuri e d\u00ebshp\u00ebruar q\u00eb merr konturet e nj\u00eb luft\u00eb. Dyshemeja \u00ebsht\u00eb e err\u00ebt, prapa krevatit muri i bardh\u00eb l\u00eb t\u00eb duket koklavitja e gjymtyr\u00ebve n\u00eb at\u00eb q\u00eb duket si nj\u00eb p\u00ebrqafim vdekjeprur\u00ebs,nj\u00eb rreth q\u00eb mbyllet, shtr\u00ebngon, mbyt, n\u00eb nj\u00eb dhimbje t\u00eb pafundme q\u00eb nuk ka shp\u00ebrb\u00ebrjen ose shpengimin.<\/p>\n

“Figurat e mia t\u00eb kap\u00ebrthyer shpesh t\u00eb kuptuara nga mund\u00ebsit e Muybridge-s\u00eb, disa prej t\u00eb cilave – n\u00ebse nuk i shikon n\u00ebn mikroskop – ata duken t\u00eb shtr\u00ebnguara n\u00eb nj\u00eb p\u00ebrqafim seksuale…<\/em>“.<\/p>\n

\"\"<\/p>\n

K\u00ebshtu, n\u00eb “Figur\u00ebn e strir\u00eb<\/i>” (1969) modelja Henrietta Moraes afrohet n\u00eb nj\u00eb krevat n\u00eb form\u00eb tabakaje, me trupin p\u00ebrball\u00eb shikuesit, me k\u00ebmb\u00ebt e saj t\u00eb palosur mbi nj\u00eb jast\u00ebk t\u00eb bardh\u00eb, ve\u00e7 e ve\u00e7, dhe kok\u00ebn e saj kthyer m\u00ebnjan\u00eb. gjith\u00e7ka dridhet: dyshemeja, krevati q\u00eb duket i gatsh\u00ebm, muri i lakuar roz\u00eb, llamba me drit\u00eb t\u00eb verdh\u00eb q\u00eb bie mbi shtrat pas jast\u00ebkut. Anatomi femra \u00ebsht\u00eb e dukshme, por p\u00ebr k\u00ebt\u00eb trup nuk evokon ndjeshm\u00ebri, edhe pse i ofrohet shikuesit n\u00eb nj\u00eb m\u00ebnyr\u00eb t\u00eb drejtp\u00ebrdrejt\u00eb.<\/p>\n

\u00cbsht\u00eb vetmia e nj\u00eb trupi, q\u00eb kthehet, rrotullohet, sp\u00ebrdridhet n\u00eb vetvete si nj\u00eb lule e madhe mishi, harruar nga vetja. N\u00eb dy figurat mbi shtrat t\u00eb Dashuris\u00eb \u00ebsht\u00eb djalli q\u00eb arrin p\u00ebr mohimin e ngjyr\u00ebs, tonet thinjen, hijet b\u00ebhen m\u00eb t\u00eb thukta. Krevati strehon nj\u00eb p\u00ebrqafim t\u00eb d\u00ebshp\u00ebruar, t\u00eb ndri\u00e7uar nga nj\u00eb \u00e7ar\u00e7af i bardh\u00eb, q\u00eb kontraston me dyshemen\u00eb dhe me muret e zeza t\u00eb nj\u00eb dhome. Duket se paralajm\u00ebron d\u00ebshp\u00ebrimin e k\u00ebrkimit t\u00eb tjerit – dhe t\u00eb vetes s\u00eb vet\u00eb – n\u00eb k\u00ebt\u00eb p\u00ebrqafim t\u00eb pasionuar. Nj\u00eb krevat si nj\u00eb ishull lundrues n\u00eb detin e d\u00ebshp\u00ebrimit. Nj\u00eb drit\u00ebz shprese q\u00eb shp\u00ebton nga t\u00ebrbimi i mbinjeriut.<\/p>\n

\"\"<\/p>\n

P\u00ebrktheu: Faslli Haliti<\/b><\/p><\/blockquote>\n","protected":false},"excerpt":{"rendered":"

Trupi Antihijeshi Nga FRANCESCO MAROTTA Raffaella Terrible P\u00cbR DASHURIN\u00cb Art dhe dashuri. Art dhe Passion. Arti dhe Trupi. Tema e trupit ka nj\u00eb rol ky\u00e7: \u00ebsht\u00eb objekti i dashuris\u00eb, instrument i k\u00ebnaq\u00ebsis\u00eb, ndjell\u00ebse e joshjes, objekt fetish. Prej koh\u00ebsh trupi ka qen\u00eb n\u00eb qend\u00ebr t\u00eb imagjinat\u00ebs s\u00eb artist\u00ebve, por nga fundi i shekullit n\u00ebnt\u00ebmb\u00ebdhjet\u00eb ka […]<\/p>\n","protected":false},"author":1,"featured_media":51500,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2,4,35],"tags":[],"class_list":["post-51499","post","type-post","status-publish","format-standard","has-post-thumbnail","category-artikuj","category-histori","category-kulture"],"yoast_head":"\nKRITIKA, KRONIKA ARTI, FRANCIS BACON, T\u00cb PABOTUARA, LUCIAN FREUD, RAFFAELLA E TMERRSHME, ESE, SHKRIMI P\u00cbR DASHURIN\u00cb - FJALA e LIR\u00cb<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jehonashqiptare.al\/fjala\/kritika-kronika-arti-francis-bacon-te-pabotuara-lucian-freud-raffaella-e-tmerrshme-ese-shkrimi-per-dashurine\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"KRITIKA, KRONIKA ARTI, FRANCIS BACON, T\u00cb PABOTUARA, LUCIAN FREUD, RAFFAELLA E TMERRSHME, ESE, SHKRIMI P\u00cbR DASHURIN\u00cb - FJALA e LIR\u00cb\" \/>\n<meta property=\"og:description\" content=\"Trupi Antihijeshi Nga FRANCESCO MAROTTA Raffaella Terrible P\u00cbR DASHURIN\u00cb Art dhe dashuri. 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Art dhe Passion. Arti dhe Trupi. Tema e trupit ka nj\u00eb rol ky\u00e7: \u00ebsht\u00eb objekti i dashuris\u00eb, instrument i k\u00ebnaq\u00ebsis\u00eb, ndjell\u00ebse e joshjes, objekt fetish. Prej koh\u00ebsh trupi ka qen\u00eb n\u00eb qend\u00ebr t\u00eb imagjinat\u00ebs s\u00eb artist\u00ebve, por nga fundi i shekullit n\u00ebnt\u00ebmb\u00ebdhjet\u00eb ka […]","og_url":"https:\/\/jehonashqiptare.al\/fjala\/kritika-kronika-arti-francis-bacon-te-pabotuara-lucian-freud-raffaella-e-tmerrshme-ese-shkrimi-per-dashurine\/","og_site_name":"FJALA e LIR\u00cb","article_publisher":"https:\/\/facebook.com\/fjala.info\/","article_author":"https:\/\/facebook.com\/shkoder.net\/","article_published_time":"2020-02-26T22:02:05+00:00","article_modified_time":"2020-02-26T22:13:02+00:00","og_image":[{"width":450,"height":389,"url":"https:\/\/jehonashqiptare.al\/fjala\/wp-content\/uploads\/2020\/02\/trupi_antihijeshi.jpg","type":"image\/jpeg"}],"author":"admin","twitter_card":"summary_large_image","twitter_creator":"@https:\/\/twitter.com\/acokaj","twitter_site":"@acokaj","twitter_misc":{"Written by":"admin","Est. reading time":"12 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/jehonashqiptare.al\/fjala\/kritika-kronika-arti-francis-bacon-te-pabotuara-lucian-freud-raffaella-e-tmerrshme-ese-shkrimi-per-dashurine\/#article","isPartOf":{"@id":"https:\/\/jehonashqiptare.al\/fjala\/kritika-kronika-arti-francis-bacon-te-pabotuara-lucian-freud-raffaella-e-tmerrshme-ese-shkrimi-per-dashurine\/"},"author":{"name":"admin","@id":"https:\/\/jehonashqiptare.al\/fjala\/#\/schema\/person\/9c9fccf4f6449d25e258607d9b4275cb"},"headline":"KRITIKA, KRONIKA ARTI, FRANCIS BACON, T\u00cb PABOTUARA, LUCIAN FREUD, RAFFAELLA E TMERRSHME, ESE, SHKRIMI P\u00cbR DASHURIN\u00cb","datePublished":"2020-02-26T22:02:05+00:00","dateModified":"2020-02-26T22:13:02+00:00","mainEntityOfPage":{"@id":"https:\/\/jehonashqiptare.al\/fjala\/kritika-kronika-arti-francis-bacon-te-pabotuara-lucian-freud-raffaella-e-tmerrshme-ese-shkrimi-per-dashurine\/"},"wordCount":2340,"commentCount":0,"image":{"@id":"https:\/\/jehonashqiptare.al\/fjala\/kritika-kronika-arti-francis-bacon-te-pabotuara-lucian-freud-raffaella-e-tmerrshme-ese-shkrimi-per-dashurine\/#primaryimage"},"thumbnailUrl":"https:\/\/jehonashqiptare.al\/fjala\/wp-content\/uploads\/2020\/02\/trupi_antihijeshi.jpg","articleSection":["Artikuj","Histori","Kultur\u00eb"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/jehonashqiptare.al\/fjala\/kritika-kronika-arti-francis-bacon-te-pabotuara-lucian-freud-raffaella-e-tmerrshme-ese-shkrimi-per-dashurine\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/jehonashqiptare.al\/fjala\/kritika-kronika-arti-francis-bacon-te-pabotuara-lucian-freud-raffaella-e-tmerrshme-ese-shkrimi-per-dashurine\/","url":"https:\/\/jehonashqiptare.al\/fjala\/kritika-kronika-arti-francis-bacon-te-pabotuara-lucian-freud-raffaella-e-tmerrshme-ese-shkrimi-per-dashurine\/","name":"KRITIKA, KRONIKA ARTI, FRANCIS BACON, T\u00cb PABOTUARA, LUCIAN FREUD, RAFFAELLA E TMERRSHME, ESE, SHKRIMI P\u00cbR DASHURIN\u00cb - 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