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Kultura

 Oltsen Gripshi: The misunderstood role of the curator in Albania, not just a name, but a real profession

 Oltsen Gripshi: The misunderstood role of the curator in Albania, not just

In the system of visual arts, the role of the curator is central, but in our country it seems that little importance is given to it. Art historian and curator Ph.D. Oltsen Gripshi says that in our country the role of the curator seems to have been misunderstood. In the interview for "SOT" newspaper, the art historian Ph. D. Oltsen Gripshi says that the curator today is that professional figure, who deals from A to Z with the entire process for opening an exhibition, whether it is individual or shared. According to the art historian, the curator is a well-defined and well-organized profession, since to be one you must have studied and not, as someone often says, I am a curator when there is no such training. According to him, first the curator to enjoy such a profile will have to master some theoretical knowledge,

-We have seen you in your activity as a curator. What can you tell us about the importance of the figure of the curator? 

The curator is already a central figure in the organization and management of a visual artist. The figure of the curator was born by chance in 1855 when the French artist Gustave Curbet was refused to exhibit at the annual exhibition known as: "Exposition universelle des produits de l'agriculture, de l'industrie et des beaux-arts". An exhibition, which was founded in London by Prince Albert, husband of Queen Victoria of England, and the Royal Society of Arts in 1851, where the first exhibition was opened in the Crystal Palace. I emphasize this important event for the history of art, since at that time unconsciousness turned into the establishment of the figure of the curator as a need for the good organization and promotion of art together with the artist. this, for until 1855 the whole art system was in the hands of the Academies of Fine Arts and art critics. This process, which consisted only in the superficial reading of works of art. After the rejection, Curbet was forced to exhibit in another annual exhibition known as the "Salon", which opened at the Musée du Louvre, and it was this alternative exhibition that established a new system of art beyond the rigid stereotypes and clichés of the time. But even the Salon in 1863 made the same "mistake" as happened with the rejection of Curbet from the Exposition Universelle of '55, it rejected a group of artists such as: Édouard Manet, Claude Monet, Camille Pissarro, James Whistler and others who are known as the artists of the "Salon des Refusés", but who founded impressionism with their art. An artistic trend that would later inspire modern art in Europe and the USA. It was these years where the role of the curator came to be more and more evident (although it was still not well defined as it is known today) as the only way to evaluate and sell the artistic work. The most important innovation consists in the fact that the juries of these exhibitions no longer consisted only of the most famous painters of the time as it was before, but also of the general public, so the problem of presenting the work becomes primary and the exhibition hall takes a increasingly important. With the artistic avant-gardes, curation becomes a subversive methodology to the official system, a creative instrument of experimentation focused on the sale/market of art. Among the first theorists in establishing the figure of the curator were the architects: 

-You have participated in various activities abroad, what happens and how important is the curator's work? 

In today's system of visual arts, the role of the curator is central, quite different from the one described above. The curator today is that professional figure, who deals from A to Z with the entire process of opening an exhibition, be it personal or shared. Today, beyond Albania, we have two typologies of curators, the institutional one, an organic part of museums/galleries in the organization of exhibitions by museum institutions, and the freelancer who, on his own initiative, or at the invitation of the artist/s or whoever wants to open an exhibition. The work of the independent curator, unlike that of the institutional curator, has nothing to do with an exclusive context dictated by the museum or gallery, but it belongs to his foresight and freedom to theoretically research a certain topic and then create an exhibition of works that concretize that topic. Therefore, the independent curator outside the museum institutions is a fundamental figure for the further development of art, the increase of the economic value of the artistic work and the identification of new artistic talents to promote them and then to make them part of the market. art. In a way, the curator is a "stock broker", that not only tracks the genuine artistic values ??in the artist, promoting them, but he invests in the future and the quotation of the value of the sale of the artwork in the art market. increasing the economic value of the artistic work and identifying new artistic talents to promote them and then to make them part of the art market. In a way, the curator is a "stock broker", that not only tracks the genuine artistic values ??in the artist, promoting them, but he invests in the future and the quotation of the value of the sale of the artwork in the art market. increasing the economic value of the artistic work and identifying new artistic talents to promote them and then to make them part of the art market. In a way, the curator is a "stock broker", that not only tracks the genuine artistic values ??in the artist, promoting them, but he invests in the future and the quotation of the value of the sale of the artwork in the art market. 

- Cilat janë detyrat e kuratorit dhe çfarë përgatitje duhet të ketë ai / ajo, apo mund ta bëj kushdo? 

Besoj është e qartë, e shkruar e zeza mbi të bardhë që kuratori është një profesion i mirëpërcaktuar dhe i mirëorganizuar, pasi për të qenë i atillë do të duhet të kesh studiuar dhe jo siç shpeshherë unë e theksoj dikush zgjohet në mëngjes dhe thotë: - Unë jam kurator! Jo, nuk funksionon kështu, pasi së pari kuratori për të gëzuar një profil të tillë do të duhet të mirë zotëroj disa njohuri teorike të cilat pa to është mirë t’i qëndroj larg këtij profesionin, sepse më shumë e dëmton, e përdhos atë sesa e bën të besueshëm në sytë e artistit dhe institucioneve të lidhura ngushtësisht me të. Njohuritë e zotërimit janë: Njohja e historisë së artit; Njohja e stileve të ndryshme të artit; Njohja e koncepteve të projektimit, teknikës, teknologjisë, inovacioneve, etj;  Njohuri për ligjet dhe praktikat etike brenda trashëgimisë kulturore;  Njohuri për tregun e artit;  Njohuri teknike mbi parimet e ndriçimit dhe ndriçimit të punimeve, analiza e pozicionimit të punimeve dhe planifikimi i itinerareve brenda ekspozitës se si do të duhet të ekspozohen veprat mbështetur edhe në konceptin kuratorial; Njohuri për menaxhimin financiar (përpunimi i një plani sponsorizimi dhe financimi nga institucione publike, private, apo organizata të ndryshme); Njohuri për metodologjitë e komunikimit dhe promovimit;  Njohuri mbi muzeologjinë. Përpos aspektit të formimit profesional universitar, kuratori ka disa detyra specifike për realizimin me sukses të një ekspozite si: Përzgjedh temën e ekspozitës; Shkruan tekstin kuratorial; Përzgjedh artistin / artistët dhe veprat që do të ekspozohen; Përzgjedh muzeun, apo galerinë për realizimin e ekspozitës në shërbim të konceptit kuratorial; Menaxhon burimet ekonomike dhe kërkoni fonde të reja nga institucione publike, bankat, shoqatat dhe fondacionet e ndryshme; Vendos për pajisjet që do të përdoren për krijimin e ekspozitës; Koncepton, projekton dhe organizon instalimet e përkohshme, duke vendosur sistemet që do të përdoren (tradicionale, teknologjike, etj); Planifikon planin e veprimit të marketingut dhe promovimit të ngjarjes. Vendos për strukturën dhe informacionin që do të përfshihet në katalogun e ekspozitës, koordinon dhe mbikëqyr punimet e transportit dhe montimit të veprave artistike, menaxhon marrëdhëniet me artistët, drejtorin e institucionit, klientët, kritikët e artit, revistat e specializuara, etj. 

-Po në Shqipëri ku zhvillohen jo pak aktivitete me në fokus artin figurativ qofshin private si projekte si dhe raste nga institucionet, sa rëndësi i kushtohet dhe ku shikoni ju se duhet përmirësuar? 

Roli i kuratorit në Shqipëri është i keqkuptuar! Çfarë do të thotë kjo? Ashtu si shumëçka edhe kuratori tashmë në Shqipëri është në rënie të lirë, ku graviteti i mendësisë së masës për të bërë gjithçka përfundon duke mos bërë mirë asgjë. E kam thënë edhe në intervista të tjera, sikurse e kam trajtuar këtë çështje tepër delikat edhe në studimet e mia shkencore të referuar nëpër konferenca të ndryshme shkencore jashtë vendit, se kuratori nuk është thjesht një dëshirë, pasi dëshira nuk është e barazvlefshme me cilësinë. Padyshim që edhe në Shqipëri ka 1, 2 kuratorë të mirëfilltë të cilët merren seriozisht me këtë profesion, por pjesa më e madhe e bëjnë atë për inerci, për një emër onorifik të vendosur në posterin e ekspozitës si për të thënë që: - edhe unë jam kurator, apo artisti për të treguar se ekspozitën e tij e ka kuruar dikush, por i vetëdijshëm që ai/ajo kuratori/ja është tërësisht fiktiv pa asnjë vlerë për evidentimin teorik dhe ekspozues të krijimtarisë së tij përballë gjykuesit më të madh, të vërtetë e të saktë që është publiku. E vetmja gjë që mund të them për përmirësimin e këtij trendi, ku të gjithë “jemi kuratorë” dhe vlerësuar rolin e kuratorit të mirëfilltë, por njëkohësisht edhe të vetvetes (flas këtu për artistin) është që ekspozitën t’ia besoj një profesionisti e jo një pseudo-kuratori të pashkolluar, i cili dje kishte një profesion tjetër dhe sot u zgjua për çudi një kurator!    

- In Albania, little is said about the role of the curator... 

Yes, it is true that little is said, because little is known. I have tried and will not stop talking about this central figure for the realization of exhibitions, because the curator is not just a name, but a genuine profession shaped by a compound trinomial: art history-critic, philosophy and marketing.   

Interviewed by: Julia Vrapi