{"id":308797,"date":"2019-07-08T08:32:44","date_gmt":"2019-07-08T06:32:44","guid":{"rendered":"https:\/\/hashtag.al\/?p=308797"},"modified":"2019-07-08T16:57:54","modified_gmt":"2019-07-08T14:57:54","slug":"interviste-njihni-restauratorin-qe-sheroi-veprat-e-kole-idromenos","status":"publish","type":"post","link":"https:\/\/www.hashtag.al\/index.php\/2019\/07\/08\/interviste-njihni-restauratorin-qe-sheroi-veprat-e-kole-idromenos\/","title":{"rendered":"INTERVIST\u00cb – Njihni restauratorin q\u00eb “sh\u00ebroi” veprat e Kol\u00eb Idromenos","gt_translate_keys":[{"key":"rendered","format":"text"}]},"content":{"rendered":"

\"\"<\/span><\/p>\n

Restauratori Olsi Laska, p\u00ebrgjegj\u00ebs i sektorit t\u00eb Konservim Restaurimit, pran\u00eb Galeris\u00eb Komb\u00ebtare t\u00eb Arteve GKA, ka punuar p\u00ebr t\u00eb \u201csh\u00ebruar\u201d veprat Kol\u00eb Idromenos.<\/span><\/p>\n

Ai tregon n\u00eb intervist\u00eb nd\u00ebrhyrjet q\u00eb jan\u00eb b\u00ebr\u00eb nga specialist\u00ebt e restaurimit, v\u00ebshtir\u00ebsit\u00eb q\u00eb kan\u00eb dal\u00eb rrug\u00ebs, k\u00ebnaq\u00ebsia kur sheh nj\u00eb vep\u00ebr t\u00eb p\u00ebrfunduar, por edhe sfidat e radh\u00ebs.<\/span><\/p>\n

Cila \u00ebsht\u00eb vepra q\u00eb ju ka lodhur m\u00eb shum\u00eb?<\/strong><\/span><\/p>\n

P\u00ebr restauratorin \u00e7do vep\u00ebr arti ka vlerat dhe r\u00ebnd\u00ebsin\u00eb e saj. Vepra \u201cKur hyn dreqi n\u00eb sht\u00ebpi\u201d, na ka marr\u00eb m\u00eb shum\u00eb koh\u00eb, nga problematikat e shumta q\u00eb kishte dhe dimensionit t\u00eb saj t\u00eb madh. Kjo vep\u00ebr, kur ka ardhur n\u00eb Galeri, n\u00eb vitin 1994, ka qen\u00eb e palosur, gati sa nj\u00eb format A4. N\u00eb ato vite i \u00ebsht\u00eb b\u00ebr\u00eb nj\u00eb nd\u00ebrhyrje konservuese me kushtet dhe materialet e koh\u00ebs, q\u00eb e ka shp\u00ebtuar vepr\u00ebn nga r\u00ebnia e pelikulit t\u00eb ngjyr\u00ebs. Kjo ishte nj\u00eb vep\u00ebr si \u201cpaz\u00ebll\u201d. Na u desh t\u00eb mblidhnim copat, t\u2019i bashkonim. P\u00ebr ne ishte nj\u00eb sfid\u00eb dhe jemi krenar\u00eb q\u00eb arrit\u00ebm n\u00eb k\u00ebt\u00eb rezultat.<\/span><\/p>\n

Ku konsistoi nd\u00ebrhyrja juaj?<\/strong><\/span><\/p>\n

S\u00eb pari u hoq\u00ebn mbetjet e\u00a0 letr\u00ebs japoneze dhe ngjit\u00ebsve t\u00eb p\u00ebrdorur nga nd\u00ebrhyrjet e m\u00ebparshme, u hoq kanavaca (dublura) q\u00eb ishte ngjitur nga mbrapa, ngjit\u00ebsa, adeziv\u00eb, qepjet me pe\u2026 M\u00eb pas vepra u vendos n\u00eb nj\u00eb shasi provizore dhe e gjith\u00eb sip\u00ebrfaqja u vesh me let\u00ebr japoneze dhe ngjit\u00ebs \u201clepuri\u201d. Vepra nga pas ishte lyer me boj\u00eb t\u00eb kuqe, e cila e mbante kanavac\u00ebn t\u00eb ngurt\u00eb dhe me rrudha. Boja nuk e linte kanavac\u00ebn q\u00eb t\u00eb tendosej dhe gjithashtu pengonte nj\u00eb lidhje t\u00eb mir\u00eb dhe rezistente me kanavac\u00ebn e re, gj\u00eb q\u00eb na e b\u00ebnte pun\u00ebn edhe m\u00eb t\u00eb v\u00ebshtir\u00eb. Vendos\u00ebm q\u00eb ta hiqnim boj\u00ebn n\u00eb m\u00ebnyr\u00eb manuale, me bisturi dhe let\u00ebr smeril. Ishte nj\u00eb pun\u00eb shum\u00eb delikate, pasi duhet t\u00eb tregoheshim shum\u00eb t\u00eb kujdessh\u00ebm, q\u00eb t\u00eb mos d\u00ebmtonim gruntin dhe pelikulin e ngjyr\u00ebs. Pasi u pastrua pjesa e pasme e vepr\u00ebs nga boja dhe papast\u00ebrtit\u00eb e ndryshme, kanavaca u lirua plot\u00ebsisht dhe me hekurosje t\u00eb gjitha rrudhat u eliminuan. M\u00eb pas vepra u vendos n\u00eb kanavac\u00ebn e re, e cila paraprakisht u trajtua dhe u tendos n\u00eb shasi alumini, e cila sh\u00ebrben p\u00ebr dubluarat e veprave. E gjith\u00eb puna \u00ebsht\u00eb b\u00ebr\u00eb n\u00eb m\u00ebnyr\u00eb manuale nga tre specialist\u00ebt e sektorit ton\u00eb, pa ndihm\u00ebn e\u00a0 tavolin\u00ebs me vakum, q\u00eb p\u00ebrdoret n\u00eb k\u00ebto procedura. Shtrirja e vepr\u00ebs \u00ebsht\u00eb b\u00ebr\u00eb me hekur. Kemi punuar s\u00eb bashku p\u00ebr ta hekurosur, duke nd\u00ebrruar nj\u00ebri-tjetrin. N\u00eb fund arrit\u00ebm me sukses t\u00eb mbyllnim pjes\u00ebn e konservimit t\u00eb piktur\u00ebs, pasi p\u00ebr p\u00ebrmasat e vepr\u00ebs dhe p\u00ebr kushtet q\u00eb ka GKA, p\u00ebrb\u00ebnte nj\u00eb sfid\u00eb p\u00ebr sektorin ton\u00eb.<\/span><\/p>\n

Cilat jan\u00eb veprat e tjera q\u00eb paraqisnin probleme t\u00eb ngjashme?<\/strong><\/span><\/p>\n

I nj\u00ebjti proces ka ndodhur edhe me \u201cPortretin e Mati Kodhelit\u201d dhe vepr\u00ebn \u201cPortret Plaku\u201d, q\u00eb akoma nuk e kemi identifikuar se cili \u00ebsht\u00eb. Presim q\u00eb k\u00ebto dit\u00eb, t\u00eb ket\u00eb ndoshta ndonj\u00eb reagim, p\u00ebr ta identifikuar. T\u00eb dyja k\u00ebto vepra paraqisnin pak a shum\u00eb t\u00eb nj\u00ebjtat problematika. Edhe n\u00eb librin e Mikel Prenushit t\u00eb vitit 1984, konstatohen k\u00ebto d\u00ebmtime, q\u00eb kan\u00eb ardhur deri sot.<\/span><\/p>\n

Kur datojn\u00eb k\u00ebto vepra?<\/strong><\/span><\/p>\n

Sipas botimeve p\u00ebr Idromenon, \u201cPortret Plaku\u201d, \u00ebsht\u00eb nj\u00eb vep\u00ebr 100-vje\u00e7are. \u201cPortreti i Mati Kodhelit\u201d i p\u00ebrket vitit 1881, nd\u00ebrsa viti i vepr\u00ebs \u201cKur hyn dreqi n\u00eb sht\u00ebpi\u201d nuk dihej, pasi ishte i mbuluar me boj\u00eb, por doli gjat\u00eb procesit t\u00eb restaurimit. \u00cbsht\u00eb vep\u00ebr e vitit 1899.<\/span><\/p>\n

\"\"

Restauratori Olsi Laska<\/span><\/p><\/div>\n

P\u00ebr nj\u00eb restaurator, ku q\u00ebndron m\u00eb s\u00eb shumti v\u00ebshtir\u00ebsia, tek trajtimi nj\u00eb portreti apo nj\u00eb peizazhi, kompozimi\u2026?<\/strong><\/span><\/p>\n

Tek portretet v\u00ebshtir\u00ebsia lidhet me vet\u00eb teknik\u00ebn e restaurimit, pasi n\u00eb to, restauratori nuk duhet t\u00eb shpreh\u00eb vetveten. N\u00ebse nuk e njeh imazhin, nuk mund t\u00eb krijosh sipas imagjinat\u00ebs t\u00ebnde. N\u00eb k\u00ebto raste, gjithnj\u00eb veprohet me viza (rigatino), ose me tonet neutrale. Vepra lexohet nga larg, por po t\u00eb afrohesh, nd\u00ebrhyrja \u00ebsht\u00eb e dallueshme. Restauratori nuk duhet t\u00eb arrij\u00eb n\u00eb pik\u00ebn q\u00eb t\u00eb imitoj\u00eb artistin dhe t\u00eb fus\u00eb veten e vet. N\u00eb dy veprat q\u00eb ju p\u00ebrmenda m\u00eb sip\u00ebr, ne kemi arritur t\u2019i sjellim ato n\u00eb nj\u00eb gjendje t\u00eb mir\u00eb. \u00cbsht\u00eb e v\u00ebrtet\u00eb q\u00eb ka humbje dhe r\u00ebnie t\u00eb pelikulit, por nuk kan\u00eb problem p\u00ebr gjendjen, vepra \u00ebsht\u00eb e konservuar. Edhe p\u00ebr 50 apo 100 vjet t\u00eb tjera, k\u00ebto vepra nuk do t\u00eb ken\u00eb probleme n\u00eb qoft\u00eb se do t\u00eb ruhen n\u00eb kushte t\u00eb mira ndaj lag\u00ebshtis\u00eb, temperatur\u00ebs dhe agjent\u00ebve termik\u00eb. Nd\u00ebrsa p\u00ebr pjes\u00ebn estetike, duhet t\u00eb vendosim se \u00e7far\u00eb q\u00ebndrimi do t\u00eb mbajm\u00eb. N\u00eb k\u00ebt\u00eb pik\u00eb do t\u00eb shohim reagimin e publikut, t\u00eb koleg\u00ebve dhe t\u00eb studiuesve t\u00eb artit dhe n\u00eb mbyllje t\u00eb ekspozit\u00ebs, t\u00eb shohim n\u00ebse do t\u00eb nd\u00ebrhyjm\u00eb n\u00eb an\u00ebn estetike apo do ta l\u00ebm\u00eb Idromenon me shenjat q\u00eb i ka l\u00ebn\u00eb koha, t\u00eb cilat tashm\u00eb jan\u00eb pjes\u00eb e historis\u00eb s\u00eb vepr\u00ebs.<\/span><\/p>\n

T\u00eb gjitha veprat e k\u00ebsaj ekspozite kan\u00eb kaluar n\u00eb duart tuaja?<\/strong><\/span><\/p>\n

Shumica e k\u00ebtyre veprave kan\u00eb kaluar n\u00eb procesin estetik, at\u00eb t\u00eb b\u00ebrjes s\u00eb vizitueshme. Ne kemi menduar q\u00eb edhe vitin q\u00eb vjen, veprat e Idromenos t\u00eb vazhdojn\u00eb procesin e restaurimit. Kemi disa pun\u00eb, si \u201cPamje nga Ulqini\u201d apo \u201cDasma Shkodrane\u201d, t\u00eb cilat jan\u00eb l\u00ebn\u00eb p\u00ebr m\u00eb von\u00eb, pasi ato paraqesin t\u00eb tjera problematika. Kur n\u00eb nj\u00eb vep\u00ebr \u00ebsht\u00eb nd\u00ebrhyr\u00eb m\u00eb par\u00eb, p\u00ebrgjegj\u00ebsia \u00ebsht\u00eb m\u00eb e madhe se me pun\u00ebt e paprekura, sepse duhen vler\u00ebsuar dhe b\u00ebr\u00eb provat mbi materialet e p\u00ebrdorura, n\u00ebse k\u00ebto nd\u00ebrhyrje duhen hequr ose jo. Ndaj edhe ne i lam\u00eb p\u00ebr nj\u00eb moment t\u00eb dyt\u00eb.<\/span><\/p>\n

Prej sa vitesh merreni me restaurim?<\/strong><\/span><\/p>\n

U b\u00ebn\u00eb 10 vjet tashm\u00eb. Ishte nj\u00eb fat t\u00eb ndiqja Shkoll\u00ebn e Restaurimit, t\u00eb zhvilluar nga UNESCO, pran\u00eb Institutit t\u00eb Monumenteve t\u00eb Kultur\u00ebs, n\u00eb vitin 2009-2010. E quaj fat, sepse punuam me specialist\u00eb t\u00eb p\u00ebrzgjedhur nga UNESCO dhe me teknikat dhe materialet e koh\u00ebs.<\/span><\/p>\n

Duhet t\u00eb jet\u00eb nj\u00eb profesion q\u00eb k\u00ebrkon shum\u00eb durim dhe koh\u00eb\u2026<\/strong><\/span><\/p>\n

Durimi n\u00eb profesionin ton\u00eb \u00ebsht\u00eb pjes\u00eb e pun\u00ebs, i cili fillon me hulumtimet paraprake, fotografimi i t\u00eb gjitha fazave, konsolidimi, pastrimi dhe faza estetike. Secila nga k\u00ebto faza ka r\u00ebnd\u00ebsin\u00eb e saj. Pastrimi \u00ebsht\u00eb shum\u00eb delikat, pasi duhet t\u00eb jesh i kujdessh\u00ebm n\u00eb heqjen e shtresave t\u00eb vernikut, velaturave dhe t\u00eb papast\u00ebrtive mbi vep\u00ebr. Pjesa manuale q\u00eb realizohet me bisturi, k\u00ebrkon shum\u00eb kujdes, duke p\u00ebrdorur lente e mikroskop n\u00eb var\u00ebsi t\u00eb nd\u00ebrhyrjes, gjithashtu dhe pjesa kimike- fizike, k\u00ebrkon njohurit\u00eb dhe kujdes. Gjith\u00e7ka \u00ebsht\u00eb me mas\u00eb. Pjesa estetike \u00ebsht\u00eb sa e bukur aq dhe delikate, sepse \u00ebsht\u00eb faza e fundit e restaurimit dhe ajo \u00e7ka do shoh\u00eb publiku. \u00c7do 15-20 minuta duhet t\u00eb \u00e7lodh\u00ebsh syt\u00eb dhe t\u00eb kthehesh e ta shoh\u00ebsh vepr\u00ebn me nj\u00eb sy t\u00eb fresk\u00ebt, por edhe duhet t\u00eb kontrollojm\u00eb e t\u00eb kujdesemi p\u00ebr koleg\u00ebt.<\/span><\/p>\n

\u00cbsht\u00eb nj\u00eb pun\u00eb paskuintash, por kur nxirrni nj\u00eb vep\u00ebr n\u00eb drit\u00eb duhet t\u00eb ket\u00eb shum\u00eb k\u00ebnaq\u00ebsi apo jo?<\/strong><\/span><\/p>\n

Pjesa e bukur \u00ebsht\u00eb kur ti ua tregon njer\u00ebzve pun\u00ebn e p\u00ebrfunduar. Sigurisht kur nj\u00eb vizitor vjen n\u00eb ekspozit\u00eb, ai nuk e di se si ka qen\u00eb m\u00eb her\u00ebt ajo vep\u00ebr. P\u00ebr shembull n\u00eb rastin e piktur\u00ebs \u201cPortret Plaku\u201d, vizitor\u00ebt \u00ebsht\u00eb e sigurt q\u00eb do t\u00eb merren me \u201cpikat\u201d n\u00eb piktur\u00eb, por n\u00ebse do ta dinin se si ka qen\u00eb ajo m\u00eb par\u00eb, sigurisht q\u00eb nuk do t\u00eb merreshin me to. N\u00eb rastin e \u201cKur hyn dreqi n\u00eb sht\u00ebpi\u201d, nuk arrit\u00ebm t\u00eb hynim n\u00eb pjes\u00ebn estetike, pasi ajo k\u00ebrkon ndoshta nj\u00eb vit pun\u00eb, p\u00ebr t\u00eb mbushur plasaritjet. Ne vendos\u00ebm q\u00eb stukimet t\u00eb ngjyroseshin me kafe t\u00eb err\u00ebt, gati n\u00eb t\u00eb zez\u00eb, q\u00eb t\u00eb dilte n\u00eb pah drita e piktur\u00ebs dhe imazhi i vepr\u00ebs t\u00eb lexohej. Kjo \u00ebsht\u00eb teknik\u00eb q\u00eb p\u00ebrdoret n\u00eb raste t\u00eb tilla. \u00cbsht\u00eb nj\u00eb q\u00ebndrim q\u00eb mbahet nga ana e restaurator\u00ebve. Publiku ka mund\u00ebsi t\u00eb lexoj\u00eb vepr\u00ebn, artistin, nd\u00ebrsa puna e restauratorit \u00ebsht\u00eb e ndar\u00eb nga vepra. Tanim\u00eb duhet t\u00eb vendosim n\u00ebse vepr\u00ebn duhet ta l\u00ebm\u00eb k\u00ebshtu, apo do t\u00eb hyj\u00eb edhe restauratori dhe te plot\u00ebsoj\u00eb me nj\u00eb ton m\u00eb t\u00eb ul\u00ebt apo me viza. Kjo teknik\u00eb lejon leximin e gjith\u00eb figur\u00ebs, por nga af\u00ebr ato jan\u00eb t\u00eb dukshme.<\/span><\/p>\n

Pak m\u00eb par\u00eb ju that\u00eb se veprat, n\u00eb t\u00eb cilat \u00ebsht\u00eb nd\u00ebrhyr\u00eb m\u00eb her\u00ebt, paraqesin m\u00eb tep\u00ebr v\u00ebshtir\u00ebsi, sidomos n\u00eb munges\u00eb t\u00eb skedave p\u00ebrkat\u00ebse. Sa i r\u00ebnd\u00ebsish\u00ebm \u00ebsht\u00eb dokumentimi i procesit t\u00eb restaurimit?<\/strong><\/span><\/p>\n

P\u00ebr konservimin dhe restaurimin, dokumentimi fotografik dhe ditari i nd\u00ebrhyrjeve, \u00ebsht\u00eb nj\u00eb proces sa i bukur, aq edhe i r\u00ebnd\u00ebsish\u00ebm. I bukur, sepse p\u00ebrgjat\u00eb tij, b\u00ebhet krahasimi mes fotografive, se si ka qen\u00eb dhe si \u00ebsht\u00eb. Nd\u00ebrsa dokumentimi n\u00eb kartela e konservim-restaurimit, ku sh\u00ebnohen t\u00eb gjitha problematikat dhe nd\u00ebrhyrjet, \u00ebsht\u00eb po aq i domosdosh\u00ebm, pasi dhe pas shum\u00eb vitesh, restaurator\u00ebt e tjer\u00eb nuk do t\u00eb humbasin koh\u00eb duke b\u00ebr\u00eb prova si ne, por do t\u2019i ken\u00eb t\u00eb dokumentuara t\u00eb gjitha nd\u00ebrhyrjet, materialet, n\u00eb kartelat e veprave. Materialet e restaurimit jan\u00eb riversib\u00ebl, q\u00eb edhe pas shum\u00eb vitesh, ashtu si jan\u00eb aplikuar, ashtu edhe mund t\u00eb hiqen.<\/span><\/p>\n

Cila \u00ebsht\u00eb sfida e radh\u00ebs p\u00ebr sektorin tuaj?<\/strong><\/span><\/p>\n

Vepra \u201cDy rrug\u00ebt\u201d \u00ebsht\u00eb sfida e radh\u00ebs p\u00ebr sektorin ton\u00eb, nj\u00eb tablo q\u00eb ka ardhur nga Muzeu \u201cOso Kuka\u201d dhe do t\u2019i n\u00ebnshtrohet restaurimit s\u00eb bashku me piktur\u00ebn \u201cDasma Shkodrane\u201d<\/span><\/p>\n

VINI RE:<\/strong><\/span> Intervista \u00ebsht\u00eb pron\u00ebsi intelektuale e ATA<\/span><\/span><\/p>\n

Shkrimin origjinal mund ta lexoni k\u00ebtu<\/a><\/span><\/span><\/p>\n","protected":false,"gt_translate_keys":[{"key":"rendered","format":"html"}]},"excerpt":{"rendered":"

Restauratori Olsi Laska, p\u00ebrgjegj\u00ebs i sektorit t\u00eb Konservim Restaurimit, pran\u00eb Galeris\u00eb Komb\u00ebtare t\u00eb Arteve GKA, ka punuar p\u00ebr t\u00eb \u201csh\u00ebruar\u201d veprat Kol\u00eb Idromenos. Ai tregon n\u00eb intervist\u00eb nd\u00ebrhyrjet q\u00eb jan\u00eb b\u00ebr\u00eb nga specialist\u00ebt e restaurimit, v\u00ebshtir\u00ebsit\u00eb q\u00eb kan\u00eb dal\u00eb rrug\u00ebs, k\u00ebnaq\u00ebsia kur sheh nj\u00eb vep\u00ebr t\u00eb p\u00ebrfunduar, por edhe sfidat e radh\u00ebs. Cila \u00ebsht\u00eb vepra […]<\/p>\n","protected":false,"gt_translate_keys":[{"key":"rendered","format":"html"}]},"author":32,"featured_media":308798,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65,13],"tags":[],"class_list":["post-308797","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-lajme","category-te-fundit"],"gt_translate_keys":[{"key":"link","format":"url"}],"_links":{"self":[{"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/posts\/308797","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/users\/32"}],"replies":[{"embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/comments?post=308797"}],"version-history":[{"count":0,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/posts\/308797\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/media\/308798"}],"wp:attachment":[{"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/media?parent=308797"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/categories?post=308797"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/tags?post=308797"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}