{"id":12274,"date":"2023-05-25T14:00:53","date_gmt":"2023-05-25T12:00:53","guid":{"rendered":"https:\/\/glasniidei.mk\/?p=12274"},"modified":"2023-05-25T14:00:55","modified_gmt":"2023-05-25T12:00:55","slug":"damjan-kokalevski-per-arkivimin-e-krijimtarise-kolektive","status":"publish","type":"post","link":"https:\/\/glasniidei.mk\/?p=12274","title":{"rendered":"Damjan Kokalevski p\u00ebr arkivimin e krijimtaris\u00eb kolektive"},"content":{"rendered":"
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\"\u0424\u043e\u0442\u043e\u0433\u0440\u0430\u0444\u0438\u0458\u0430
\u0424\u043e\u0442\u043e\u0433\u0440\u0430\u0444\u0438\u0458\u0430 \u043d\u0430 \u0414\u0430\u043c\u0458\u0430\u043d \u041a\u043e\u043a\u0430\u043b\u0435\u0432\u0441\u043a\u0438<\/figcaption><\/figure>\n<\/div>\n\n\n

Intervist\u00eb me Damjan Kokalevski<\/strong><\/p>\n\n\n\n

Damjan Kokalevski \u00ebsht\u00eb arkitekt dhe kurator. Ai punon n\u00eb Muzeun e Arkitektur\u00ebs n\u00eb Munih (Architekturmuseum der TUM), ku themeloi nj\u00eb arkiv digjital dhe punon mbi tema t\u00eb lidhura me infrastruktur\u00ebn digjitale t\u00eb para p\u00ebrmes prizmit t\u00eb drejt\u00ebsis\u00eb sociale, demokratizimit t\u00eb njohurive, burimeve dhe aksesit.<\/p>\n\n\n\n

Ka lindur dhe \u00ebsht\u00eb rritur n\u00eb Shkup, nd\u00ebrsa \u00ebsht\u00eb shkolluar dhe ka punuar n\u00eb Vjen\u00eb, Tokio dhe Cyrih. Disertacionin e doktorat\u00ebs e ka kryer n\u00eb ETH Cyrih n\u00eb vitin 2018. Me titull  (\u201cPerforming the Archive: Skopje. From the Ruins of the City of the Future\u201d). ai  trajton munges\u00ebn dhe neglizhenc\u00ebn e materialeve arkivore nga rind\u00ebrtimi i Shkupit pas t\u00ebrmetit.<\/p>\n\n\n\n

S\u00eb bashku me Milan Dinevski dhe Ana K. Brodersen, ata themeluan Protocolektivin, qend\u00ebr k\u00ebrkimore t\u00eb dizajnit dhe mediumeve me seli n\u00eb Lubjan\u00eb, e cila i v\u00eb n\u00eb dyshim pozicionet e pushtetit p\u00ebrmes krijimit t\u00eb kritikave narrative hap\u00ebsinore, sociale dhe politike.<\/p>\n\n\n\n

Nikola Shindre: \u201cDamjan Kokalevski \u00ebsht\u00eb studiues-shkenc\u00ebtar n\u00eb Muzeun e Arkitektur\u00ebs s\u00eb Mynihut. P\u00ebr publikun maqedonas dhe evropian \u00ebsht\u00eb i njohur si arkitekt, studiues dhe kurator n\u00eb fush\u00ebn e arkivimit digjital t\u00eb krijimtaris\u00eb kolektive \u2013 arkitektur\u00ebs.<\/strong><\/p>\n\n\n\n

N\u00eb radh\u00eb t\u00eb par\u00eb, \u00e7far\u00eb \u00ebsht\u00eb ajo q\u00eb sh\u00ebnon veprimtaria arkivo-muzetare p\u00ebr arkitektur\u00ebn? \u00c7far\u00eb \u00ebsht\u00eb e r\u00ebnd\u00ebsishme t\u00eb dihet kur flitet p\u00ebr ruajtjen e k\u00ebsaj trash\u00ebgimie?<\/strong><\/p>\n\n\n\n

Damjan Kokalevski: Gj\u00ebja e par\u00eb dhe m\u00eb e r\u00ebnd\u00ebsishme \u00ebsht\u00eb t\u00eb theksohet se arkivat nuk jan\u00eb depo informacioni neutrale dhe “t\u00eb vdekura”. P\u00ebrkundrazi, ato jan\u00eb vende aktive q\u00eb jan\u00eb n\u00eb l\u00ebvizje t\u00eb vazhdueshme dhe ku riinterpretimi i vazhduesh\u00ebm p\u00ebrmes veprimtaris\u00eb k\u00ebrkimore dhe kuratoriale \u00ebsht\u00eb imperativ. Nga ky k\u00ebndv\u00ebshtrim, \u00ebsht\u00eb e qart\u00eb se interpretimi i vazhduesh\u00ebm e i p\u00ebrs\u00ebritur ka nj\u00eb r\u00ebnd\u00ebsi t\u00eb ve\u00e7ant\u00eb p\u00ebr t\u00eb kuptuarit e historis\u00eb, por edhe p\u00ebr v\u00ebshtrimin drejt s\u00eb ardhmes. Veprimtaria muzeale n\u00eb k\u00ebt\u00eb kontekst \u00ebsht\u00eb vet\u00ebm nj\u00eb aspekt q\u00eb lejon t\u00eb nd\u00ebrtohen rr\u00ebfime t\u00eb reja dhe koncepte kuratoriale-ekspozitash q\u00eb i b\u00ebjn\u00eb k\u00ebto materiale t\u00eb lexueshme, t\u00eb kuptueshme, por edhe bashk\u00ebpunuese, pra i b\u00ebjn\u00eb t\u00eb disponueshme p\u00ebr inspektim p\u00ebr publikun e gjer\u00eb, q\u00eb p\u00ebr mua \u00ebsht\u00eb r\u00ebnd\u00ebsia m\u00eb e madhe.. Nga p\u00ebrvoja ime duke punuar me arkivat arkitekturore mund t\u00eb theksoj disa aspekte. S\u00eb pari, arkitektura nuk \u00ebsht\u00eb vet\u00ebm objekti i nd\u00ebrtuar, por edhe nj\u00eb proces politiko-social-ekonomik q\u00eb q\u00ebndron n\u00eb sfond dhe \u00ebsht\u00eb i paduksh\u00ebm, pra i palexuesh\u00ebm, pa qasje historike. Pik\u00ebrisht kjo ide, si t\u00eb b\u00ebhen t\u00eb dukshme proceset e padukshme, \u00ebsht\u00eb nj\u00eb nga sfidat m\u00eb t\u00eb m\u00ebdha kur punohet me arkivat arkitekturore. P\u00ebr t\u00eb kuptuar nj\u00eb objekt, nj\u00eb lagje apo nj\u00eb qytet dhe p\u00ebr t\u00eb krijuar nj\u00eb marr\u00ebdh\u00ebnie me ta si qytetar\u00eb, \u00ebsht\u00eb i nevojsh\u00ebm nj\u00eb \u201clexim\u201d arkivor i hap\u00ebsir\u00ebs. Kjo do t\u00eb thot\u00eb gjithashtu se arkivat mund t\u00eb shihen si nj\u00eb mjet p\u00ebr formimin e nj\u00eb kulture. N\u00ebse arkivat jan\u00eb joaktive dhe t\u00eb padisponueshme, at\u00ebher\u00eb ato jan\u00eb t\u00eb padobishme. Do t\u00eb thot\u00eb gjithashtu se arkivat b\u00ebjn\u00eb t\u00eb mundur konceptimin e argumenteve, pra “deklaratat ose pretendimet” q\u00eb nd\u00ebrtohen. Kush ka t\u00eb drejt\u00eb t\u00eb nd\u00ebrtoj\u00eb nj\u00eb deklarat\u00eb?, Kush ka t\u00eb drejt\u00eb t\u00eb lexoj\u00eb arkivat?, Kush ka akses n\u00eb historin\u00eb e tyre? jan\u00eb pyetje q\u00eb duhet t\u00eb na drejtojn\u00eb n\u00eb veprimtarin\u00eb kuratoriale. Nj\u00eb pyetje themelore kur punoni me arkivat \u00ebsht\u00eb: A lexohen arkivat gjithmon\u00eb n\u00eb favor t\u00eb “fituesve”?, nj\u00eb koncept q\u00eb vjen nga historizmi, apo lexohen nga materializmi historik, t\u00eb cilin e shkakton vet\u00eb “fitorja” si koncept.<\/p>\n\n\n\n

Nga ky aspekt, gjithmon\u00eb i referohem Allan Sekull\u00ebs, i cili na m\u00ebson se: \u201cArkivat duhen lexuar nga posht\u00eb, nga pozicioni i solidaritetit me ata q\u00eb shp\u00ebrngulen, deformohen, heshtin apo b\u00ebhen t\u00eb paduksh\u00ebm nga makinerit\u00eb p\u00ebr fitim dhe  progres. ” [1] ose Walter Benjamin i cili na m\u00ebson se: “Detyra jon\u00eb \u00ebsht\u00eb t\u00eb fshijm\u00eb historin\u00eb kund\u00ebr kokrrave t\u00eb saj”.<\/p>\n\n\n\n

Arkivat arkitekturore jan\u00eb thesare t\u00eb vlefshme q\u00eb japin kuptim t\u00eb s\u00eb tashmes dhe tregues t\u00eb s\u00eb ardhmes t\u00eb mundshme duke lexuar t\u00eb shkuar\u00ebn. N\u00ebse punojm\u00eb n\u00eb m\u00ebnyr\u00eb krijuese dhe t\u00eb nd\u00ebrgjegjshme dhe nga nj\u00eb pozicion solidariteti me bashk\u00ebqytetar\u00ebt, arkivat mund t\u00eb na \u00e7lirojn\u00eb nga argumentet q\u00eb i marrim si t\u00eb dh\u00ebna dhe t\u00eb na lejojn\u00eb t\u00eb b\u00ebjm\u00eb pyetje t\u00eb r\u00ebnd\u00ebsishme p\u00ebr shoq\u00ebrin\u00eb ton\u00eb: marr\u00ebdh\u00ebniet ekologjike, ekonomike dhe sociopolitike. P\u00ebr shembull, nga nj\u00eb arkiv specifik i arkitektur\u00ebs mund t\u00eb lexojm\u00eb se \u00e7far\u00eb marr\u00ebdh\u00ebniesh t\u00eb fuqis\u00eb, kapitalit, materialitetit, pron\u00ebsis\u00eb, p\u00ebrdorimit, q\u00ebndrueshm\u00ebris\u00eb ekonomike dhe materiale jan\u00eb t\u00eb pranishme dhe t’i vendosim m\u00eb tej n\u00eb nj\u00eb kontekst t\u00eb ri tematik.<\/p>\n\n\n\n

N\u00ebse shikojm\u00eb transformimet e fundit t\u00eb Shkupit, nj\u00eb gj\u00eb b\u00ebhet e qart\u00eb, ajo \u00ebsht\u00eb teza e Zhak Derrid\u00ebs dhe Sonia Combe t\u00eb cil\u00ebt thon\u00eb se: \u201cNuk ka kontroll politik pa kontroll t\u00eb arkivave dhe kujtes\u00ebs. Demokratizimi efektiv mund t\u00eb matet p\u00ebrmes nj\u00eb kriteri thelb\u00ebsor: pjes\u00ebmarrjes dhe aksesit n\u00eb arkiva, konstituimit dhe interpretimit t\u00eb tyre\u201d. (p\u00ebrkthim nga D. K.)[2] Vet\u00ebm p\u00ebrmes interpretimit dhe rivler\u00ebsimit t\u00eb vazhduesh\u00ebm t\u00eb arkivave, p\u00ebrmes pun\u00ebs aktive dhe bashk\u00ebpunuese me ta, mund t\u00eb flitet p\u00ebr ruajtje adekuate t\u00eb trash\u00ebgimis\u00eb kulturore dhe arkitekturore. Kjo \u00ebsht\u00eb detyra jon\u00eb dhe p\u00ebrgjegj\u00ebsia qytetare.<\/p>\n\n\n\n

N. Sh. Polemikat se \u00e7far\u00eb sakt\u00ebsisht \u00ebsht\u00eb arkitektura vazhdojn\u00eb edhe sot, por le t\u00eb pranojm\u00eb k\u00ebndv\u00ebshtrimin se \u00ebsht\u00eb nj\u00eb nd\u00ebrthurje e teknik\u00ebs dhe artit. Cila duhet t\u00eb jet\u00eb marr\u00ebdh\u00ebnia nd\u00ebrmjet teknikisht t\u00eb mir\u00ebs dhe estetikisht t\u00eb bukur\u00ebs q\u00eb di\u00e7ka t\u00eb jet\u00eb e vlefshme arkitekturisht?\u201d<\/strong><\/p>\n\n\n\n

D. K. Un\u00eb do t\u00eb b\u00ebja edhe nj\u00eb lidhje, ajo \u00ebsht\u00eb se arkitektura \u00ebsht\u00eb nj\u00eb shkrirje e teknik\u00ebs dhe artit t\u00eb konkretizuar n\u00eb nj\u00eb kuad\u00ebr politik, ekologjik dhe socio-ekonomik. Miti i autonomis\u00eb artistike t\u00eb arkitektur\u00ebs \u00ebsht\u00eb thjesht nj\u00eb mit. \u00c7do rresht n\u00eb nj\u00eb flet\u00eb letre t\u00eb zbraz\u00ebt, \u00e7do mur dhe bedem i vizatuar dhe i ekzekutuar, \u00e7do tull\u00eb e ngulitur \u00ebsht\u00eb nj\u00eb deklarat\u00eb. Un\u00eb do t\u00eb sfidoja tez\u00ebn se arkitektura \u00ebsht\u00eb nj\u00eb veprimtari neutrale dhe apolitike. Me t\u00eb drejt\u00eb mund t\u00eb perceptojm\u00eb se teknika dhe materialiteti jan\u00eb nj\u00eb pjes\u00eb e majt\u00eb e estetik\u00ebs, ve\u00e7an\u00ebrisht n\u00ebse mendojm\u00eb edhe p\u00ebr gjurm\u00ebn e karbonit t\u00eb arkitektur\u00ebs n\u00eb mjedis.<\/p>\n\n\n\n

Vlerat arkitektonike jan\u00eb t\u00eb shum\u00ebanshme, p\u00ebr mua vlejn\u00eb vet\u00ebm kur realizojn\u00eb realitete t\u00eb reja. P\u00ebr shembull, \u00ebsht\u00eb me vler\u00eb arkitektonike t\u00eb pyesim n\u00ebse duhet t\u00eb presim gjithmon\u00eb nj\u00eb “investitor” q\u00eb arkitektura t\u00eb ekzistoj\u00eb? A \u00ebsht\u00eb e mundur t\u00eb nd\u00ebrtohet miq\u00ebsore me mjedisin dhe t\u00eb punohet s\u00eb bashku me prodhuesit e materialeve p\u00ebr t\u00eb k\u00ebrkuar modele q\u00eb nuk shfryt\u00ebzojn\u00eb burimet e planetit? A nevojiten kaq shum\u00eb qendra tregtare n\u00eb nj\u00eb zon\u00eb t\u00eb caktuar qyteti? Si do t\u00eb nd\u00ebrtonit sht\u00ebpi q\u00eb jan\u00eb ekonomikisht t\u00eb p\u00ebrballueshme p\u00ebr qytetar\u00ebt? Si do ta trajtonit diversitetin n\u00eb hap\u00ebsir\u00eb? Kush ka t\u00eb drejt\u00eb t\u00eb marr\u00eb pjes\u00eb dhe “z\u00eb” n\u00eb arkitektur\u00eb? Kush ka fuqin\u00eb p\u00ebr t\u00eb nd\u00ebrtuar? A \u00ebsht\u00eb arkitektura nj\u00eb simbol statusi apo nj\u00eb domosdoshm\u00ebri? \u00c7far\u00eb hap\u00ebsirash nevojiten p\u00ebr t\u00eb kontribuar n\u00eb nd\u00ebrtimin e nj\u00eb shoq\u00ebrie gjith\u00ebp\u00ebrfshir\u00ebse, solidare, aktive dhe demokratike? T\u00eb gjitha k\u00ebto \u00e7\u00ebshtje jan\u00eb vet\u00ebm nj\u00eb fragment i vog\u00ebl dhe ato cenojn\u00eb vlerat arkitekturore dhe sfidojn\u00eb status quo-n\u00eb aktuale.<\/p>\n\n\n\n

N. Sh. Nd\u00ebrtesat e vjetra krijojn\u00eb at\u00eb q\u00eb quhet sublime n\u00eb estetik\u00eb. Ne mund t\u00eb mos e dim\u00eb se \u00e7far\u00eb do t\u00eb ruhet, por ne e dim\u00eb se \u00e7far\u00eb \u00ebsht\u00eb ruajtur. Cila \u00ebsht\u00eb historia e luft\u00ebs p\u00ebr t\u00eb ruajtur nd\u00ebrtesat q\u00eb t\u00eb gjith\u00eb i njohin sot?<\/strong><\/p>\n\n\n\n

D. K. Nd\u00ebrtesat e ruajtura, mbi t\u00eb gjitha, p\u00ebrfaq\u00ebsojn\u00eb trash\u00ebgimin\u00eb e p\u00ebrbashk\u00ebt kulturore. Kjo do t\u00eb thot\u00eb q\u00eb ne t\u00eb gjith\u00eb kemi nj\u00eb z\u00eb dhe p\u00ebrgjegj\u00ebsi p\u00ebr ta. Lista e Trash\u00ebgimis\u00eb Bot\u00ebrore t\u00eb UNESCO-s sot num\u00ebron m\u00eb shum\u00eb se 1150 hyrje, nga t\u00eb cilat 900 jan\u00eb kulturore dhe pjesa tjet\u00ebr jan\u00eb zona natyrore ose t\u00eb p\u00ebrziera. Rreth 50 prej tyre renditen si t\u00eb rrezikuar ose n\u00eb rrezik shkat\u00ebrrimi. Lufta p\u00ebr t\u00eb mbrojtur historin\u00eb \u00ebsht\u00eb e p\u00ebrditshme dhe gjith\u00ebp\u00ebrfshir\u00ebse. Analizat dhe vler\u00ebsimet e nd\u00ebrtesave dhe vendeve q\u00eb do t\u00eb shtoheshin n\u00eb k\u00ebt\u00eb list\u00eb b\u00ebhen \u00e7do dit\u00eb. V\u00ebmendje e ve\u00e7ant\u00eb i kushtohet rrezikut t\u00eb shkat\u00ebrrimit t\u00eb trash\u00ebgimis\u00eb p\u00ebrmes konflikteve ushtarake, rregullimit t\u00eb pamjaftuesh\u00ebm dhe mandateve t\u00eb paqarta legjislative. Por ajo q\u00eb m\u00eb shqet\u00ebson \u00ebsht\u00eb pyetja: Si t\u00eb mbrohet trash\u00ebgimia arkitekturore dhe kulturore nga e kaluara e af\u00ebrt q\u00eb p\u00ebrfshin nd\u00ebrtesa moderne apo zona t\u00eb t\u00ebra t\u00eb qytetit? E shohim kudo n\u00eb bot\u00eb q\u00eb trash\u00ebgimia moderne e shekullit t\u00eb kaluar \u00ebsht\u00eb n\u00eb rrezik, por m\u00eb s\u00eb shumti p\u00ebr shkak t\u00eb presionit p\u00ebr ta hequr at\u00eb dhe p\u00ebr t\u00eb nd\u00ebrtuar procese t\u00eb reja dhe \u201cfitimprur\u00ebse\u201d, prona t\u00eb paluajtshme dhe gentrifikimi. N\u00eb Shkup, pas t\u00ebrmetit t\u00eb vitit 1963, \u00c7arshia e vjet\u00ebr e Shkupit \u00ebsht\u00eb hap\u00ebsira e par\u00eb q\u00eb u ruajt. Ishte rezultat i nj\u00eb diskutimi gjith\u00ebp\u00ebrfshir\u00ebs q\u00eb u zhvillua n\u00eb disa institucione t\u00eb qytetit, ve\u00e7an\u00ebrisht n\u00eb Institutin e at\u00ebhersh\u00ebm t\u00eb Urbanistik\u00ebs dhe Arkitektur\u00ebs, i cili u p\u00ebrball p\u00ebr her\u00eb t\u00eb par\u00eb me nj\u00eb detyr\u00eb t\u00eb till\u00eb. M\u00eb pas, u krijua nj\u00eb ekip ekspert\u00ebsh, t\u00eb cil\u00ebt b\u00ebjn\u00eb nj\u00eb analiz\u00eb t\u00eb detajuar t\u00eb t\u00eb gjith\u00eb lokalitetit dhe e d\u00ebrgojn\u00eb at\u00eb p\u00ebr nj\u00eb dokument t\u00eb m\u00ebtejsh\u00ebm n\u00eb bashkin\u00eb e qytetit. Ky \u00ebsht\u00eb nj\u00eb sukses i madh i Shkupit me t\u00eb cilin duhet t\u00eb krenohemi, por sot ky lokalitet \u00ebsht\u00eb n\u00eb rrezik dhe n\u00ebn presion t\u00eb madh p\u00ebr transformim. Nevojitet nj\u00eb diskutim urgjent midis autoriteteve t\u00eb qytetit, ekspert\u00ebve t\u00eb arkitektur\u00ebs, arkivist\u00ebve, kurator\u00ebve dhe shoqatave civile p\u00ebr k\u00ebt\u00eb tem\u00eb.<\/p>\n\n\n\n

N. Sh. P\u00ebrve\u00e7 nd\u00ebrtesave kolosale, ka edhe nd\u00ebrtesa t\u00eb brishta q\u00eb mbartin nj\u00eb histori n\u00eb to. Por tregimi \u00ebsht\u00eb nj\u00eb \u00e7\u00ebshtje e s\u00eb tashmes. Si kurator\u00eb, si i zgjidhni pikat nga e kaluara q\u00eb do t\u00eb tregojn\u00eb historin\u00eb e nj\u00eb vepre arkitekturore<\/strong>?<\/p>\n\n\n\n

D. K. Tregimi i tregimeve, ose krijimi i narativave q\u00eb jan\u00eb t\u00eb fuqishme dhe t\u00eb gjalla, jan\u00eb imperativ p\u00ebr mua. P\u00ebr t\u00eb qen\u00eb i qart\u00eb, nuk i referohem tregimit t\u00eb trillimeve, por rr\u00ebfimeve t\u00eb bazuara n\u00eb nj\u00eb qasje forenzike ose nj\u00eb pun\u00eb detektive q\u00eb k\u00ebrkon k\u00ebrkime t\u00eb studiuara dhe t\u00eb detajuara. Nj\u00eb pjes\u00eb e disertacionit tim t\u00eb doktorat\u00ebs p\u00ebr Shkupin pas t\u00ebrmetit, iu kushtua tregimit t\u00eb bazuar n\u00eb artefakte arkivore, por kjo \u00ebsht\u00eb vet\u00ebm nj\u00eb pjes\u00eb e tregimit. Puna me student\u00eb dhe hartimi i seminareve mbi k\u00ebt\u00eb tem\u00eb, mbledhja e historive gojore dhe intervistave me arkitekt\u00eb dhe urbanist\u00eb, k\u00ebrkimi n\u00eb arkiva dhe literatur\u00eb private, jan\u00eb vet\u00ebm disa nga metodat q\u00eb p\u00ebrdor p\u00ebr t\u00eb formuar nj\u00eb qasje kuratoriale dhe k\u00ebrkimore. Kjo shkon n\u00eb drejtim t\u00eb k\u00ebrkimeve etnologjike dhe antropologjike ku ne nuk punojm\u00eb nga nj\u00eb distanc\u00eb e sigurt, por shkojm\u00eb n\u00eb terren dhe punojm\u00eb n\u00eb bashk\u00ebpunim kolegjial. N\u00eb nj\u00eb moment me disa koleg\u00eb kemi formuar nj\u00eb shoqat\u00eb t\u00eb qytetar\u00ebve me q\u00ebllim t\u00eb realizimit t\u00eb projekteve q\u00eb kan\u00eb t\u00eb b\u00ebjn\u00eb me pun\u00ebn me arkivin e Shkupit pas t\u00ebrmetit. Nj\u00eb projekt ishte ekspozita q\u00eb realizova n\u00eb Universitetin ETH n\u00eb Cyrih, ku mora doktoratur\u00ebn me titull \u201cPerformimi i arkivave Shkup. Nga rr\u00ebnojat e qytetit t\u00eb s\u00eb ardhmes\u201d. Ekspozita u konceptua si pjes\u00eb e doktoratur\u00ebs me q\u00ebllim t\u00eb hapjes s\u00eb dialogut dhe prezantimit t\u00eb nj\u00eb vepre n\u00eb vazhdim, ku u diskutua p\u00ebr Shkupin p\u00ebrmes nj\u00eb ekspozite me student\u00eb, profesor\u00eb, mysafir\u00eb nga Cyrihu, Shkupi e m\u00eb gjer\u00eb. Un\u00eb i shoh ekspozitat si nj\u00eb metod\u00eb p\u00ebr t\u00eb formuar platforma p\u00ebr diskutim, vende p\u00ebr testim dhe form\u00ebsim t\u00eb diskursit dhe mjete t\u00eb dobishme p\u00ebr aktivizimin e opinionit publik.<\/p>\n\n\n\n

N. Sh. Arkivat digjitale b\u00ebjn\u00eb t\u00eb mundur t\u00eb mbani mend at\u00eb q\u00eb mund t\u00eb mos i q\u00ebndroj\u00eb koh\u00ebs. Megjithat\u00eb, arkivimi digjital p\u00ebrballet edhe me kritika p\u00ebr problemin e p\u00ebrzgjedhjes. Cilat jan\u00eb q\u00ebndrimet tuaja p\u00ebr t\u00eb ashtuquajturat p\u00ebrzgjedhje \u201ce barabart\u00eb\u201d e trash\u00ebgimis\u00eb kulturore arkitekturore?<\/strong><\/p>\n\n\n\n

D. K. Boll\u00ebku \u00ebsht\u00eb nj\u00eb problem themelor n\u00eb arkivimin digjital. Aktualisht po krijojm\u00eb arkivin e par\u00eb arkitektonik digjital n\u00eb Muzeun e Arkitektur\u00ebs t\u00eb Universitetit Teknik t\u00eb Munihut, ku \u00e7do dit\u00eb merremi me ruajtjen e trash\u00ebgimis\u00eb arkitekturore t\u00eb 30-40 viteve t\u00eb fundit, kur puna e arkitekt\u00ebve ka kaluar n\u00eb domenin digjital. Shumica e arkitekt\u00ebve t\u00eb k\u00ebsaj periudhe jan\u00eb ende aktive, gj\u00eb q\u00eb paraqet nj\u00eb sfid\u00eb t\u00eb re. Si t\u00eb p\u00ebrzgjidhet dhe ruhet trash\u00ebgimia kulturore q\u00eb \u00ebsht\u00eb ende n\u00eb formim? Kjo hap gjithashtu nj\u00eb mund\u00ebsi t\u00eb re p\u00ebr t\u00eb p\u00ebrfshir\u00eb arkitekt\u00ebt n\u00eb krijimin e arkivave, gj\u00eb q\u00eb nuk ndodh me arkivat tradicionale. P\u00ebr k\u00ebt\u00eb q\u00ebllim, ne organizojm\u00eb nj\u00eb s\u00ebr\u00eb diskutimesh me arkitekt\u00ebt edhe para fillimit t\u00eb arkivimit p\u00ebr t\u00eb marr\u00eb njohuri t\u00eb reja dhe p\u00ebr t\u00eb b\u00ebr\u00eb nj\u00eb p\u00ebrzgjedhje t\u00eb par\u00eb. Sigurisht, kjo nuk \u00ebsht\u00eb e barabart\u00eb, por bazuar n\u00eb disponueshm\u00ebrin\u00eb dhe d\u00ebshir\u00ebn e arkitekt\u00ebve p\u00ebr bashk\u00ebpunim. P\u00ebr ne, kjo do t\u00eb thot\u00eb t\u00eb b\u00ebjm\u00eb vazhdimisht pyetje: Si, p\u00ebr k\u00eb, dhe n\u00eb \u00e7far\u00eb m\u00ebnyre do ta formonim k\u00ebt\u00eb arkiv?. Si pjes\u00eb e Universitetit, ne kemi nj\u00eb p\u00ebrgjegj\u00ebsi par\u00ebsore ndaj student\u00ebve dhe studiuesve q\u00eb do t\u00eb punonin me k\u00ebto materiale. Ne kemi gjithashtu diskutime p\u00ebr arkivimin dhe katalogimin etik dhe gjith\u00ebp\u00ebrfshir\u00ebs, \u200b\u200bku p\u00ebrfshijm\u00eb koleg\u00eb dhe ekspert\u00eb nga fusha t\u00eb ndryshme, duke p\u00ebrfshir\u00eb profesionist\u00eb t\u00eb baz\u00ebs s\u00eb t\u00eb dh\u00ebnave dhe etnolog\u00eb. Mendoj se nj\u00eb p\u00ebrgjigje e ekuilibruar p\u00ebr \u00e7\u00ebshtjen e barazis\u00eb \u00ebsht\u00eb nevoja p\u00ebr nj\u00eb qasje nd\u00ebrdisiplinore.<\/p>\n\n\n\n

N. Sh. Ndonj\u00ebher\u00eb vepra origjinale nuk mund t\u00eb ruhet plot\u00ebsisht. Njer\u00ebzit e ndryshojn\u00eb at\u00eb me kalimin e koh\u00ebs dhe me p\u00ebrdorimin. Si ndryshon nj\u00eb vep\u00ebr arkitekturore nga origjinali n\u00eb momentin kur u b\u00eb objekt arkivimi, dokumentimi?<\/strong><\/p>\n\n\n\n

D. K. Arkivat digjitale lejojn\u00eb q\u00eb procesi t\u00eb zhvillohet me shkatht\u00ebsi dhe shpejt\u00ebsi m\u00eb t\u00eb madhe. Gjithashtu, n\u00eb arkivat digjitale \u00ebsht\u00eb problematizuar koncepti \u201corigjinal\u201d, pra nuk \u00ebsht\u00eb e qart\u00eb se \u00e7far\u00eb \u00ebsht\u00eb origjinale dhe \u00e7far\u00eb \u00ebsht\u00eb plagjiatur\u00eb kur ke variante t\u00eb shumta t\u00eb s\u00eb nj\u00ebjt\u00ebs vep\u00ebr arkitekturore. Arkitektura zhvillohet n\u00eb korniza m\u00eb t\u00eb gjata kohore dhe rezultati nuk \u00ebsht\u00eb kurr\u00eb p\u00ebrfundimtar. Kjo do t\u00eb thot\u00eb se puna ndryshon n\u00eb var\u00ebsi t\u00eb periudh\u00ebs s\u00eb projektimit, nd\u00ebrtimit, p\u00ebrshtatjes etj. Teknologjit\u00eb e reja b\u00ebjn\u00eb t\u00eb mundur realizimin e regjistrimeve t\u00eb shumta nga periudha t\u00eb ndryshme t\u00eb nj\u00eb pune me kalimin e koh\u00ebs. K\u00ebt\u00eb nuk e shoh si problem, por si mund\u00ebsi p\u00ebr vler\u00ebsim t\u00eb vazhduesh\u00ebm t\u00eb materialeve arkivore. Kjo, natyrisht, k\u00ebrkon nj\u00eb struktur\u00eb t\u00eb qart\u00eb t\u00eb proceseve t\u00eb arkivimit dhe nj\u00eb problem \u00ebsht\u00eb sigurisht inercia e arkivave, por edhe nevoja p\u00ebr burime t\u00eb m\u00ebdha njer\u00ebzore dhe materiale q\u00eb kjo t\u00eb jet\u00eb e suksesshme. \u00c7do vep\u00ebr arkitekturore \u00ebsht\u00eb n\u00eb ndryshim t\u00eb vazhduesh\u00ebm dhe arkivat duhet t\u00eb ndjekin k\u00ebt\u00eb proces.<\/p>\n\n\n\n

N. Sh. Heqja dor\u00eb sjell ndryshime n\u00eb njeriun dhe njer\u00ebzimin. Ndonj\u00ebher\u00eb dikush duhet t\u00eb heq\u00eb dor\u00eb nga nj\u00eb pjes\u00eb e trash\u00ebgimis\u00eb p\u00ebr nj\u00eb t\u00eb nes\u00ebrme m\u00eb t\u00eb mir\u00eb. Si t\u00eb zgjidhni at\u00eb q\u00eb mund, dhe \u00e7far\u00eb nuk duhet t\u00eb hiqni dor\u00eb n\u00eb aspektin arkitekturor?<\/strong><\/p>\n\n\n\n

D. K. Kjo \u00ebsht\u00eb nj\u00eb \u00e7\u00ebshtje e shkall\u00ebs s\u00eb demokracis\u00eb n\u00eb nj\u00eb shoq\u00ebri. Ne duhet t\u00eb luftojm\u00eb p\u00ebr t\u00eb ardhmen e s\u00eb shkuar\u00ebs son\u00eb, bazuar n\u00eb gjith\u00ebp\u00ebrfshirjen dhe transparenc\u00ebn. Trash\u00ebgimia duhet trajtuar me nj\u00eb v\u00ebshtrim t\u00eb dyfisht\u00eb, p\u00ebrmes s\u00eb kaluar\u00ebs dhe s\u00eb ardhmes. Nj\u00eb tem\u00eb aktuale \u00ebsht\u00eb rievoluimi i nd\u00ebrtesave ekzistuese. A kemi nevoj\u00eb p\u00ebr objekte t\u00eb reja kur tashm\u00eb kemi nj\u00eb stok t\u00eb madh objektesh t\u00eb nd\u00ebrtuara? Si mund t’i ruajm\u00eb, p\u00ebrshtatim dhe rip\u00ebrdorim burimet arkitekturore q\u00eb kemi tashm\u00eb? Cili \u00ebsht\u00eb roli i trash\u00ebgimis\u00eb arkitekturore n\u00eb t\u00eb ardhmen? Nj\u00eb shembull konkret \u00ebsht\u00eb trajtimi i arkitektur\u00ebs tradicionale n\u00eb qytetet dhe fshatrat e Maqedonis\u00eb, p\u00ebr shembull: Krushev\u00eb, Veles, Babino, Zheleznec apo \u00c7u\u00e7er Sandev\u00eb, t\u00eb cilat kan\u00eb nj\u00eb potencial t\u00eb madh p\u00ebr zhvillim t\u00eb balancuar q\u00eb nuk \u00ebsht\u00eb shfryt\u00ebzues, por ekologjik dhe gjith\u00ebp\u00ebrfshir\u00ebs. Aktualisht, s\u00eb bashku me disa koleg\u00eb, po punojm\u00eb p\u00ebr nj\u00eb studim par\u00ebsor t\u00eb k\u00ebsaj trash\u00ebgimie kulturore n\u00eb nj\u00eb projekt nd\u00ebrdisiplinor q\u00eb propozon p\u00ebrdorimin dhe mir\u00ebmbajtjen e asaj q\u00eb \u00ebsht\u00eb tashm\u00eb k\u00ebtu nga pik\u00ebpamja ekologjike dhe materiale. E kaluara \u00ebsht\u00eb nj\u00eb pasqyr\u00eb e s\u00eb tashmes, nj\u00eb thesar q\u00eb flet p\u00ebr qytet\u00ebrimin e sot\u00ebm dhe t\u00eb ardhsh\u00ebm q\u00eb ne duam t\u00eb nd\u00ebrtojm\u00eb.<\/p>\n\n\n\n

Lekturoi: E. M.<\/strong><\/p>\n\n\n\n

P\u00ebrktheu E.  M.<\/strong><\/p>\n\n\n\n

M\u00eb posht\u00eb mund t\u00eb shihni foto t\u00eb disa ekspozitave dhe punimeve t\u00eb Damjan Kokalevski<\/p>\n\n\n\n

[1]<\/a> Sekula, Allan. \u2018Reading an Archive; Photography between Labour and Capital\u2019. In The Photography Reader<\/em>, edited by Liz Wells, Reprint. London: Routledge, 2010. \u201eThe archive has to be read from below, from a position of solidarity with those displaced, deformed, silenced or made invisible by the machineries of profit and progress.\u201d<\/p>\n\n\n\n

[2]<\/a>\u00a0Derrida, Jacques. Archive Fever: A Freudian Impression. University of Chicago Press, 1998. \u201cThere is no political power without control of the archive, if not of memory. Effective democratization can always be measured by this essential criterion: the participation in and the access to the archive, its constitution, and its interpretation.\u201d<\/p>\n\n\n\n

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\"\u0424\u043e\u0442\u043e\u0433\u0440\u0430\u0444\u0438\u0458\u0430
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Photo of the Exhibition Unfolding Cities, 2021<\/figcaption><\/figure>\n\n\n\n
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Photo of the Exhibition Unfolding Cities, 2021<\/figcaption><\/figure>\n\n\n\n
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Photo of the Exhibition Unfolding Cities, 2021<\/figcaption><\/figure>\n\n\n\n
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Photo of Performative Archive 2014<\/figcaption><\/figure>\n\n\n\n
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Photo of Performative Archive 2014<\/figcaption><\/figure>\n\n\n\n
\"Photo
Photo of Performative Archive 2014<\/figcaption><\/figure>\n<\/figure>\n","protected":false},"excerpt":{"rendered":"

Damjan Kokalevski: Gj\u00ebja e par\u00eb dhe m\u00eb e r\u00ebnd\u00ebsishme \u00ebsht\u00eb t\u00eb theksohet se arkivat nuk jan\u00eb depo informacioni neutrale dhe “t\u00eb vdekura”. P\u00ebrkundrazi, ato jan\u00eb vende aktive q\u00eb jan\u00eb n\u00eb l\u00ebvizje t\u00eb vazhdueshme dhe ku riinterpretimi i vazhduesh\u00ebm p\u00ebrmes veprimtaris\u00eb k\u00ebrkimore dhe kuratoriale \u00ebsht\u00eb imperativ. Nga ky k\u00ebndv\u00ebshtrim, \u00ebsht\u00eb e qart\u00eb se interpretimi i vazhduesh\u00ebm e i p\u00ebrs\u00ebritur ka nj\u00eb r\u00ebnd\u00ebsi t\u00eb ve\u00e7ant\u00eb p\u00ebr t\u00eb kuptuarit e historis\u00eb, por edhe p\u00ebr v\u00ebshtrimin drejt s\u00eb ardhmes. Veprimtaria muzeale n\u00eb k\u00ebt\u00eb kontekst \u00ebsht\u00eb vet\u00ebm nj\u00eb aspekt q\u00eb lejon t\u00eb nd\u00ebrtohen rr\u00ebfime t\u00eb reja dhe koncepte kuratoriale-ekspozitash q\u00eb i b\u00ebjn\u00eb k\u00ebto materiale t\u00eb lexueshme, t\u00eb kuptueshme, por edhe bashk\u00ebpunuese, pra i b\u00ebjn\u00eb t\u00eb disponueshme p\u00ebr inspektim p\u00ebr publikun e gjer\u00eb, q\u00eb p\u00ebr mua \u00ebsht\u00eb r\u00ebnd\u00ebsia m\u00eb e madhe.. Nga p\u00ebrvoja ime duke punuar me arkivat arkitekturore mund t\u00eb theksoj disa aspekte. S\u00eb pari, arkitektura nuk \u00ebsht\u00eb vet\u00ebm objekti i nd\u00ebrtuar, por edhe nj\u00eb proces politiko-social-ekonomik q\u00eb q\u00ebndron n\u00eb sfond dhe \u00ebsht\u00eb i paduksh\u00ebm, pra i palexuesh\u00ebm, pa qasje historike. Pik\u00ebrisht kjo ide, si t\u00eb b\u00ebhen t\u00eb dukshme proceset e padukshme, \u00ebsht\u00eb nj\u00eb nga sfidat m\u00eb t\u00eb m\u00ebdha kur punohet me arkivat arkitekturore. P\u00ebr t\u00eb kuptuar nj\u00eb objekt, nj\u00eb lagje apo nj\u00eb qytet dhe p\u00ebr t\u00eb krijuar nj\u00eb marr\u00ebdh\u00ebnie me ta si qytetar\u00eb, \u00ebsht\u00eb i nevojsh\u00ebm nj\u00eb \u201clexim\u201d arkivor i hap\u00ebsir\u00ebs. Kjo do t\u00eb thot\u00eb gjithashtu se arkivat mund t\u00eb shihen si nj\u00eb mjet p\u00ebr formimin e nj\u00eb kulture. N\u00ebse arkivat jan\u00eb joaktive dhe t\u00eb padisponueshme, at\u00ebher\u00eb ato jan\u00eb t\u00eb padobishme. Do t\u00eb thot\u00eb gjithashtu se arkivat b\u00ebjn\u00eb t\u00eb mundur konceptimin e argumenteve, pra “deklaratat ose pretendimet” q\u00eb nd\u00ebrtohen. Kush ka t\u00eb drejt\u00eb t\u00eb nd\u00ebrtoj\u00eb nj\u00eb deklarat\u00eb?, Kush ka t\u00eb drejt\u00eb t\u00eb lexoj\u00eb arkivat?, Kush ka akses n\u00eb historin\u00eb e tyre? jan\u00eb pyetje q\u00eb duhet t\u00eb na drejtojn\u00eb n\u00eb veprimtarin\u00eb kuratoriale. Nj\u00eb pyetje themelore kur punoni me arkivat \u00ebsht\u00eb: A lexohen arkivat gjithmon\u00eb n\u00eb favor t\u00eb “fituesve”?, nj\u00eb koncept q\u00eb vjen nga historizmi, apo lexohen nga materializmi historik, t\u00eb cilin e shkakton vet\u00eb “fitorja” si koncept.<\/p>\n","protected":false},"author":2,"featured_media":12014,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"episode_type":"","audio_file":"","cover_image":"","cover_image_id":"","duration":"","filesize":"","date_recorded":"","explicit":"","block":"","filesize_raw":"","footnotes":""},"categories":[58],"tags":[131],"class_list":{"0":"post-12274","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-58","8":"tag---2"},"_links":{"self":[{"href":"https:\/\/glasniidei.mk\/index.php?rest_route=\/wp\/v2\/posts\/12274","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/glasniidei.mk\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/glasniidei.mk\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/glasniidei.mk\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/glasniidei.mk\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=12274"}],"version-history":[{"count":1,"href":"https:\/\/glasniidei.mk\/index.php?rest_route=\/wp\/v2\/posts\/12274\/revisions"}],"predecessor-version":[{"id":12275,"href":"https:\/\/glasniidei.mk\/index.php?rest_route=\/wp\/v2\/posts\/12274\/revisions\/12275"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/glasniidei.mk\/index.php?rest_route=\/wp\/v2\/media\/12014"}],"wp:attachment":[{"href":"https:\/\/glasniidei.mk\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=12274"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/glasniidei.mk\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=12274"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/glasniidei.mk\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=12274"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}