The welcome speech of the Prime Minister, His Excellency Mr. Edi Rama, at the
\nopening of the exhibition \u201cTouching the invisible\u201d of the artist Bujar Luca.
\nFjala p\u00ebrsh\u00ebndet\u00ebse e Kryeministrit, Sh. T. Z. Edi Rama,
\nn\u00eb hapjen e ekspozit\u00ebs \u201cT\u00eb prek\u00ebsh t\u00eb padukshmen\u201d, t\u00eb artistit Bujar Luca.
\nI am quite happy that today, we are here together for
\nthe retrospective exhibition of Bujar. It is an idea that
\nemerged when we met in Paris and Bujar gladly
\nwelcomed the invitation for such an exhibition.
\nHowever, I did not think that he would bring here works
\nfrom his entire trajectory, and in fact in the small hall
\n(Meet the Artist) there are a few of his works done many
\nyears ago, at time when Bujar used to work in his old
\nhouse with a well and Mediterranean hackberry, in Tirana.
\nWe had the opportunity to meet there before the fall of
\nthe dictatorship, at the first visit that a foreign delegation
\nmade to the Academy of Arts. Part of this delegation was
\nalso the well-known editor-in-chief of the art magazine
\n\u201cConnaissance des Arts\u201d, who dedicated an entire reportage
\nto our creations of that time and became the first physical
\ncontact with the world of art beyond the walls, walls
\nwithin which we developed our activity.
\nBujar decided to leave the country, for the sake of
\ntruth. I remember that even before the roads were
\nopened, Bujar was very connected and passionate
\nabout France and the French culture, and above all
\nabout the impressionists, post-impressionists, whose
\ninfluence can be seen in the works that are exhibited
\nin the small hall, an influence which was considered
\n\u201cmalignant\u201d at the time.
\nDuring his stay in France, with his meditative reserved
\ncharacter, all by himself, without asking for anything from
\nanyone, slowly made his way to a station, which I believe
\nis the centerpiece of the exhibition, where somehow the
\nmemories of the distant past and the new acquaintances
\nor new approaches to artistic experiences begin to come
\ntogether. At first sight, it seems that the latter are two
\nextremes of the continuum, but they are actually part
\nof the same approach to the white surface. I am talking
\nabout the experience of old and new, Chinese, Japanese,
\nAsian art, which is very connected to signs and to the
\ntransposition of the written language through
\nhieroglyphs, to an immediate artistic approach, and at
\nthe other extreme lies the art movement known as
\n\u201caction painting\u201d by Jackson Pollock and others. I can say
\nthat somehow, all of these are merged together in Bujar\u2019s
\nartworks, creating a new identity and originality. What
\nprompted me to make this, perhaps quite a long parenthesis
\nof a purely professional nature, is related to something
\nelse. It is related to Bujar\u2019s relationship with painting, with
\ncanvases, paper surfaces or other surfaces where he practices
\nhis profession, which in a way is the embodiment of his
\nrelationship with life and with society at a time which has
\nmany temptations, much noise, many opportunities, but
\nalso many paths and roads that can be taken.
\nBujar has continued to be very loyal to something,
\nwhich I actually had a hard time formulating, but Bujar
\nformulated it in his own words when he said \u201cthe reality
\nof my ideal\u201d. And I believe that his works, in a way, are
\nalso his spiritual self-portraits, which speak volumes
\nabout what Bujar is in relation to the mirror in front of
\nhim and in relation to the environment or the world.
\nI just want to add one component that is related to the
\nabove: it is Bujar\u2019s activity outside the studio, which is
\nan extraordinary activity in a country that is very rich
\nin tradition, but is also very rich in human resources in
\nopera and theater. Bujar has placed himself in a highly
\nrespected position and has been called upon to collaborate
\nand contribute to a large number of shows at the
\nOp\u00e9ra Garnier, which is a new temple of opera music
\nin Paris, or in shows ranging from classical to the most
\ncontemporary ones, collaborating with well-known
\ndirectors and even with the director and choreographer
\nAngjelin Preljocaj. In addition, the fact that Bujar has
\nexcelled in this activity outside the studio, is related to
\nthe mastery of what is very clear in all his works: the
\ngesture of the sign. A sign gesture that does not come
\nsuperficially, but from an academic background, from a
\ndeep background, which can be seen at the entrance to
\nthat small hall that I am mentioning for the third time,
\nbecause there is the genesis, and from some figurative
\nworks, starting from a portrait, from a drawing that at
\nfirst glance seems to have nothing to do with what we
\nsee here, but in fact it is the genesis of all of this and
\nthis is something that, in my opinion, seems to be
\ncharacteristic of some great Albanian artists today,
\namong whom Bujar is undoubtedly listed on the
\ninternational scale. It is interesting to note that even
\nwhen pursuing paths that seemingly have no direct
\nconnection with painting and the gesture of sign, such
\nas video art ( I mean Anri Sala), such works make a
\ndifference compared to those of their colleagues in the
\nsame field and of the same importance, meaning the
\nartistic scenes, because there you can see that there is
\nsomething that transcends time and that it comes
\nexactly, in my opinion, from the fact that it is blended
\nwith the classics for reasons we know and then, this
\ndough is baked in the contemporary world.
\nI want to thank Bujar, because he made an investment
\nin time, in energy, he committed seriously and deeply
\nabout this exhibition and he also had to do the job of a
\ndelivery person, because he packed and transported all
\nthese works, something for which the government did
\nnot pay, to be honest. He is far from being a
\ngovernment or court artist, and none of those who
\nexhibited here are, and I would like to see many more
\ncome here. They can come and protest against the
\ngovernment here and get the hall rent for free.
\nSincerely Bujar, many, many compliments and thank
\nyou very much! Believe me: it is not a kind speech for
\na friend who needs a few kind words, but it is a very
\nsincere speech, and I really mean all I am saying. You
\nare one of those who give the contemporary history
\nof Albanian visual arts something without which this
\nhistory would be impoverished.
\nM\u00eb vjen shum\u00eb mir\u00eb q\u00eb sot, k\u00ebtu jemi s\u00eb bashku p\u00ebr
\nk\u00ebt\u00eb ekspozit\u00eb restrospektive t\u00eb Bujarit. \u00cbsht\u00eb nj\u00eb ide
\nq\u00eb lindi kur ishim s\u00eb bashku n\u00eb Paris dhe Bujari e priti
\nme k\u00ebnaq\u00ebsi ftes\u00ebn q\u00eb t\u00eb konsideronte mund\u00ebsin\u00eb e
\nnj\u00eb ekspozite t\u00eb till\u00eb. Por un\u00eb nuk e kisha menduar q\u00eb
\ndo t\u00eb sillte k\u00ebtu pun\u00eb nga e gjith\u00eb trajektorja e tij dhe
\nfaktikisht n\u00eb sall\u00ebn e vog\u00ebl (Salla Tako Artistin) gjenden
\npun\u00ebt e b\u00ebra shum\u00eb vite m\u00eb par\u00eb, kur Bujari krijonte
\nn\u00eb sht\u00ebpin\u00eb tij t\u00eb vjet\u00ebr tiranase me pus e carac. Aty ku
\npat\u00ebm mund\u00ebsin\u00eb t\u00eb takoheshim p\u00ebrpara r\u00ebnies s\u00eb
\ndiktatur\u00ebs gjat\u00eb nj\u00eb vizite t\u00eb par\u00eb, q\u00eb nj\u00eb delegacion i
\nhuaj b\u00ebri n\u00eb Akademin\u00eb e Arteve, pjes\u00eb e t\u00eb cilit ishte
\nedhe kryeredaktori i njohur i revist\u00ebs s\u00eb artit
\n\u201cConnaissance des Arts\u201d, i cili i kushtoi nj\u00eb reportazh
\nt\u00eb t\u00ebr\u00eb krijimeve tona t\u00eb asaj kohe dhe u b\u00eb edhe pika
\ne par\u00eb e kontaktit konkret fizik me bot\u00ebn e artit p\u00ebrtej
\nmureve, brenda t\u00eb cilave ne zhvillonim aktivitetin ton\u00eb.
\nBujari zgjodhi t\u00eb largohej, p\u00ebr hir t\u00eb s\u00eb v\u00ebrtet\u00ebs. M\u00eb
\nkujtohet se qysh p\u00ebrpara se t\u00eb hapeshin rrug\u00ebt p\u00ebr t\u2019u
\nlarguar, Bujari ishte shum\u00eb i lidhur dhe pasionuar pas
\nFranc\u00ebs e kultur\u00ebs franceze, dhe mbi t\u00eb gjitha pas
\nimpresionist\u00ebve, postimpresionist\u00ebve, gj\u00eb q\u00eb vihet
\nre n\u00eb pun\u00ebt q\u00eb jan\u00eb n\u00eb sall\u00ebn e vog\u00ebl si nj\u00eb influenc\u00eb
\nmalinje p\u00ebr at\u00eb koh\u00eb.
\nGjat\u00eb q\u00ebndrimit t\u00eb tij n\u00eb Franc\u00eb, ai me natyr\u00ebn e tij
\nt\u00eb p\u00ebrmbajtur meditative, pa zhurm\u00eb, pa k\u00ebrkuar
\nasnj\u00ebher\u00eb asgj\u00eb nga askush, hapi dal\u00ebngadal\u00eb nj\u00eb rrug\u00eb
\nte nj\u00eb stacion, i t\u00eb cil\u00ebs \u00ebsht\u00eb besoj un\u00eb, pjesa qendrore e
\nekspozit\u00ebs, ku n\u00eb nj\u00ebfar\u00eb m\u00ebnyre fillojn\u00eb e b\u00ebhen bashk\u00eb
\nqoft\u00eb kujtimet e t\u00eb shkuar\u00ebs s\u00eb larg\u00ebt, qoft\u00eb edhe njohjet
\ne reja apo afrimet e reja me eksperienca artistike, q\u00eb n\u00eb
\ndukje jan\u00eb dy ekstreme, por n\u00eb t\u00eb v\u00ebrtet\u00eb jan\u00eb pjes\u00eb e t\u00eb
\nnj\u00ebjt\u00ebs qasje ndaj sip\u00ebrfaqes s\u00eb bardh\u00eb. Flas p\u00ebr
\neksperienc\u00ebn e artit t\u00eb vjet\u00ebr dhe t\u00eb ri, kinez, japonez,
\naziatik, q\u00eb \u00ebsht\u00eb shum\u00eb i lidhur me shenj\u00ebn edhe me
\ntranspozimin e gjuh\u00ebs s\u00eb shkruar p\u00ebrmes hieroglifeve,
\nn\u00eb nj\u00eb ushtrim t\u00eb menj\u00ebhersh\u00ebm artistik, dhe n\u00eb
\nekstremin tjet\u00ebr furia e l\u00ebvizjes \u201caction painting\u201d,
\nJackson Pollock edhe t\u00eb tjer\u00eb, q\u00eb n\u00eb nj\u00ebfar\u00eb m\u00ebnyre n\u00eb
\npun\u00ebn e Bujarit fillojn\u00eb edhe shkrihen te nj\u00ebra-tjetra
\nduke krijuar nj\u00eb identitet dhe nj\u00eb origjinalitet t\u00eb ri. Ajo q\u00eb
\nm\u00eb shtyu ta b\u00ebj k\u00ebt\u00eb parantez\u00eb, ndoshta pak t\u00eb gjat\u00eb t\u00eb
\nnatyr\u00ebs krejt profesionale, lidhet me di\u00e7ka tjet\u00ebr. Lidhet
\nme raportin e Bujarit me piktur\u00ebn, raportin e Bujarit me
\ntelajot, sip\u00ebrfaqet e letr\u00ebs apo sip\u00ebrfaqe t\u00eb tjera me t\u00eb
\ncilat ai e ushtron profesionin e tij, q\u00eb n\u00eb nj\u00ebfar\u00eb m\u00ebnyre
\n\u00ebsht\u00eb mish\u00ebrim i raportit t\u00eb tij me jet\u00ebn dhe me
\nshoq\u00ebrin\u00eb n\u00eb nj\u00eb koh\u00eb, e cila ka shum\u00eb tundime, ka
\nshum\u00eb zhurm\u00eb, ka shum\u00eb mund\u00ebsira, por dhe shum\u00eb
\nshtigje dhe rrug\u00eb q\u00eb mund t\u00eb merren.
\nBujari ka vazhduar t\u2019i q\u00ebndroj\u00eb shum\u00eb besnik di\u00e7kaje,
\nq\u00eb un\u00eb n\u00eb fakt e kisha t\u00eb v\u00ebshtir\u00eb ta formuloja, por e
\nformuloi Bujari n\u00eb fjal\u00ebt e tij kur tha \u201crealiteti i idealit
\ntim\u201d. Dhe besoj q\u00eb n\u00eb nj\u00ebfar\u00eb m\u00ebnyre, pun\u00ebt e tij jan\u00eb
\ndhe autoportrete shpirt\u00ebrore t\u00eb tijat, t\u00eb cilat flasin
\nshum\u00eb p\u00ebr at\u00eb q\u00eb Bujari \u00ebsht\u00eb n\u00eb raport me pasqyr\u00ebn
\ndhe n\u00eb raport me mjedisin apo bot\u00ebn.
\nDua t\u00eb shtoj vet\u00ebm nj\u00eb komponent q\u00eb p\u00ebrs\u00ebri lidhet me
\nat\u00eb \u00e7far\u00eb po them: q\u00eb ka t\u00eb b\u00ebj\u00eb me aktivitetin e
\nBujarit jasht\u00eb studios, i cili \u00ebsht\u00eb nj\u00eb aktivitet i
\njasht\u00ebzakonsh\u00ebm n\u00eb nj\u00eb vend q\u00eb \u00ebsht\u00eb shum\u00eb i pasur
\nn\u00eb tradit\u00eb, por \u00ebsht\u00eb dhe shum\u00eb i pasur n\u00eb burime
\nnjer\u00ebzore kur flasim p\u00ebr operan, kur flasim p\u00ebr teatrin.
\nBujari \u00ebsht\u00eb vendosur vetvetiu n\u00eb nj\u00eb pozicion shum\u00eb
\nt\u00eb respektuar dhe \u00ebsht\u00eb thirrur p\u00ebr t\u00eb bashk\u00ebpunuar
\ndhe p\u00ebr t\u00eb kontribuar p\u00ebr nj\u00eb num\u00ebr t\u00eb madh shfaqjesh
\nn\u00eb operan Garnier, q\u00eb \u00ebsht\u00eb nj\u00eb tempull i ri i muzik\u00ebs
\noperistike n\u00eb Paris, apo n\u00eb shfaqje q\u00eb shkojn\u00eb nga
\nklasikja deri tek ato m\u00eb kontemporane, duke
\nbashk\u00ebpunuar me regjisor\u00eb shum\u00eb t\u00eb njohur deri tek
\nregjisori, koreografi Angjelin Preljocaj. Dhe p\u00ebrs\u00ebri
\nfakti q\u00eb n\u00eb k\u00ebt\u00eb aktivitet jasht\u00eb studios Bujari ka
\nshk\u00eblqyer, lidhet me zot\u00ebrimin e asaj q\u00eb duket shum\u00eb
\nqart\u00eb n\u00eb t\u00eb gjitha pun\u00ebt e tij: q\u00eb \u00ebsht\u00eb gjesti i shenj\u00ebs.
\nP\u00ebr nj\u00eb gjest shenje q\u00eb nuk vjen n\u00eb m\u00ebnyr\u00eb
\nsip\u00ebrfaq\u00ebsore, por q\u00eb vjen nga nj\u00eb formim akademik,
\nnga nj\u00eb formim i thell\u00eb, gj\u00eb q\u00eb mund t\u00eb shihet n\u00eb hyrje
\nt\u00eb asaj sall\u00ebs s\u00eb vog\u00ebl q\u00eb po e p\u00ebrmend p\u00ebr t\u00eb tret\u00ebn
\nher\u00eb, sepse aty \u00ebsht\u00eb fillesa dhe tek disa vepra
\nfigurative, duke filluar nga nj\u00eb portret, nga nj\u00eb
\nvizatim q\u00eb n\u00eb pamje t\u00eb par\u00eb duket q\u00eb nuk ka asnj\u00eb
\nlidhje me \u00e7far\u00eb shohim k\u00ebtu, por n\u00eb fakt \u00ebsht\u00eb fillesa e
\nasaj q\u00eb shohim k\u00ebtu dhe kjo \u00ebsht\u00eb di\u00e7ka q\u00eb m\u00eb duket
\nmua \u00ebsht\u00eb karakteristik\u00eb e disa artist\u00ebve t\u00eb m\u00ebdhenj
\nshqiptar\u00eb sot, nd\u00ebr t\u00eb cil\u00ebt padiskutim renditet dhe
\nBujari n\u00eb sken\u00ebn nd\u00ebrkomb\u00ebtare, t\u00eb cil\u00ebt edhe kur
\nshkojn\u00eb n\u00eb rrug\u00eb q\u00eb jan\u00eb n\u00eb dukje krejt\u00ebsisht pa asnj\u00eb
\nlidhje t\u00eb drejtp\u00ebrdrejt\u00eb me mjesht\u00ebrin\u00eb dhe gjestin e
\nshenj\u00ebs, si\u00e7 \u00ebsht\u00eb p\u00ebr shembull videoarti (kam parasysh
\nAnri Sal\u00ebn), veprat e tyre b\u00ebjn\u00eb nj\u00eb diferenc\u00eb n\u00eb raport
\nme ato t\u00eb koleg\u00ebve t\u00eb s\u00eb nj\u00ebjt\u00ebs fush\u00eb dhe t\u00eb nj\u00ebjt\u00ebs
\nr\u00ebnd\u00ebsi po themi n\u00eb skenat artistike, sepse tek to, ti
\nsheh se ka brenda di\u00e7ka q\u00eb e tejkalon koh\u00ebn dhe q\u00eb
\nvjen pik\u00ebrisht, sipas meje, nga t\u00eb brumosurit me
\nklasiken p\u00ebr arsye q\u00eb ne i dim\u00eb dhe pastaj t\u00eb pjekurit
\nt\u00eb k\u00ebtij brumi n\u00eb bot\u00ebn kontemporane.
\nDua ta fal\u00ebnderoj Bujarin, sepse ka b\u00ebr\u00eb nj\u00eb investim
\nn\u00eb koh\u00eb, ka b\u00ebr\u00eb nj\u00eb investim n\u00eb energji, ka menduar
\nseriozisht dhe thell\u00ebsisht p\u00ebr k\u00ebt\u00eb ekspozit\u00eb dhe ka b\u00ebr\u00eb
\ndhe nj\u00eb investim n\u00eb hamall\u00ebk po themi, sepse ka
\npaketuar dhe transportuar gjith\u00eb k\u00ebto pun\u00eb, gj\u00eb p\u00ebr t\u00eb
\ncil\u00ebn nuk e ka paguar qeveria, q\u00eb t\u00eb jemi t\u00eb qart\u00eb. \u00cbsht\u00eb
\nlarg t\u00eb qenit nj\u00eb artist qeveritar apo i oborrit t\u00eb pushtetit,
\nsi\u00e7 n\u00eb fakt jan\u00eb shum\u00eb ose pothuajse t\u00eb gjith\u00eb nga ata q\u00eb
\nekspozohen k\u00ebtu dhe do doja t\u00eb shikoja shum\u00eb t\u00eb tjer\u00eb
\nq\u00eb t\u00eb vinin k\u00ebtu. Mund t\u00eb vijn\u00eb t\u00eb b\u00ebjn\u00eb dhe protesta
\nkund\u00ebr qeveris\u00eb k\u00ebtu dhe sall\u00ebn e marrin pa qira.
\nRealisht Bujar, shum\u00eb-shum\u00eb komplimente dhe shum\u00eb
\nfaleminderit! M\u00eb beso: nuk \u00ebsht\u00eb nj\u00eb fjal\u00eb xhentile p\u00ebr
\nnj\u00eb mik k\u00ebtu, n\u00eb k\u00ebt\u00eb hap\u00ebsir\u00eb, q\u00eb i duhen th\u00ebn\u00eb disa
\nfjal\u00eb t\u00eb mira, por \u00ebsht\u00eb nj\u00eb fjal\u00eb shum\u00eb e sinqert\u00eb dhe
\nun\u00eb i besoj v\u00ebrtet\u00eb t\u00eb gjitha k\u00ebto q\u00eb po them. Ti je nj\u00eb
\nnga ata t\u00eb cil\u00ebt i japin historis\u00eb bashk\u00ebkohore t\u00eb arteve
\npamore shqiptare di\u00e7ka pa t\u00eb cil\u00ebn kjo histori do ishte
\nm\u00eb e varf\u00ebr.
\n14 Bujar Luca
\n15 Te prekesh te padukshmen \/ Touching the invisible<\/p>","protected":false},"excerpt":{"rendered":"
The welcome speech of the Prime Minister, His Excellency Mr. Edi Rama, at the opening of the exhibition \u201cTouching the invisible\u201d of the artist Bujar Luca. Fjala p\u00ebrsh\u00ebndet\u00ebse e Kryeministrit, Sh. T. Z. Edi Rama, n\u00eb hapjen e ekspozit\u00ebs \u201cT\u00eb prek\u00ebsh t\u00eb padukshmen\u201d, t\u00eb artistit Bujar Luca. I am quite happy that today, we are […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[],"class_list":["post-288","post","type-post","status-publish","format-standard","hentry","category-articles"],"_links":{"self":[{"href":"https:\/\/www.bujarluca.com\/en\/wp-json\/wp\/v2\/posts\/288","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.bujarluca.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.bujarluca.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.bujarluca.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bujarluca.com\/en\/wp-json\/wp\/v2\/comments?post=288"}],"version-history":[{"count":0,"href":"https:\/\/www.bujarluca.com\/en\/wp-json\/wp\/v2\/posts\/288\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.bujarluca.com\/en\/wp-json\/wp\/v2\/media?parent=288"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.bujarluca.com\/en\/wp-json\/wp\/v2\/categories?post=288"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.bujarluca.com\/en\/wp-json\/wp\/v2\/tags?post=288"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}