The Cows of Sisley Xhafa

World-renowned artist Sisley Xhafa decided to make an exhibition in Kosovo at the National Gallery. On the sides of this ugly object, just a few feet away from one of the most ugly items in the world, the National Library, was built a stable where eight cows are standing. This disturbed a large number of people who reacted harshly to this closure. According to their logic, cows should not be kept indoors, they should graze on the lawns, they should enjoy the pleasure of the swelling down and down. I fear that the concept of freedom, for which 2.3% of Kosovo society seized weapons and risked life, has to do with exactly this kind of useless roaming. To wander from place to place, without purpose, unhindered either by those who banned for racist reasons or by those who banned for emancipating/domistic reasons.

But go back to Sisley Xhafa's cows. This morning, Gallery Director Arta Agani said the <x0lops are being held in good condition, according to the Agriculture Ministry recommendation”. He also spoke to the owner of the cows, Arben Avdiu. While, a brief but meaningful message was delivered by the criticised artist Sisley Xhafa: “I'm a vegetarian. I love you without knowing”.

I don't know if the cows in question are being kept under bad conditions. But, to be honest, I'm not so worried about that if this isn't another artistic bullshit. I can experience a kind of pain, like an animal for an animal, when I see it until it suffers or is treated savagely by the bipeds like me but it passes as soon as the blinks of my eyes and I get another opinion at the top. I feel more empathy for these conscious terrorists, the sapiens, even though I can't do anything to prevent the suffering and death of hundreds of thousands of them every day.

Various artists have used human pain to do their deeds at its most climax. Much of last century's literary and cinematic works use brutal scenes to provoke people. Art has no place out of pain, terror and nonsense. Out of life's ontological stability. Those most attentive acts use violence as a key element. The last work I read, it's written by George Batalle, and it's called “Eye History” where images are brutally violent, where sexual perverts are terribly provocative. Adolf Hitler, one of the most terrible dictators of the last century, was also a painter. It's naive to try to connect art only to humanity or the good as a moral category. This is the conformative art, opposite to the art of revolt.

What Sisley Xhaffen does to an artist, or even Ismail Kadare, or anyone else, is not an artistic element that is an alternative to the nonartistic measure, but it is the courageous effort of these individuals to sell their experience. It's just the relationship of these people with what might be called art authorities that have difficulty justifying even their existence. While many art critics downplayed Hitler's artistic work, one of them when he was asked what he thought, but without telling him who was the author, had praised the dictator's works as the good “x1>. The definition of art is wavering, which makes all of this activity extensive for abuse and corruption by powers.

Art is a form of communication, a social event that cannot exist only privately. So, Sisley Xhafa's work of being artistic should be recognized by others as artistic. And through the cows, he probably got us all into his mind, swallowed us up, and made us part of that work. Perhaps, too, reaction and protest were well - thought out, planned. He may well know our collective intimacy, the delicate relationship with the cow that comes from a break from a once-independent rural culture in this country, from the still-snow urban population, and from the freedom as a fir.

I don't know what Xhafa's work contains, but the response to the work The Eight cow Kosovo reveals a kind of distaste of authenticity by reason of why animals' rights without understanding the most basic: that rights, including humans, exist nowhere but in our minds as a trial of it, and cannot exist beyond circumstances and resolutions of power. Although portrayed as Western value, it cannot be denied that Western societies kill billions of animals each year for consumer reasons. In addition, it is difficult to speak of animal rights if you are an eater of meat. If you quietly approve of their murder. And imagine, Xhafa said it was vegetarian. What a confusion!

“Coban” and “lopa” are two words overused with extremely angry meaning in our society. The cow, once a close companion of grandparents or a distant one, is now used as an attack figure against the oppressed people of the lowest economic class who were unable to move out of town. Because agriculture doesn't make people rich anymore. I don't know if keeping cows closed is abusive because it would make all the work really useless, and breathing like anything else in this country!

I am prejudiced that the work in Caiaphas ' words will not be another expression of snobism. That's because Sisley Xhafa grew up in former Pristina, the space in which rural culture occupied many places, and the same cow. It was a time when this animal did not serve as a contempt and an identity fence, but in later moments when disdain was fixed, nor as an expression of civilization through the protection of rights. Here we need to think of Dostoyevsky's novel, Crocodil, where Russian society does not know which rights to prioritize, the human, animal, the economics of foreign investors, or anything else when a German crocodile swallows up a Russian official.

Urbanes from its root are related to opening, discussing art as things contrary to narrowness. Cows, art, and philosophy are viewed as indiscreet. The cow is tolerated and protected as serious as it is - as long as it does not provoke. Artists are despised to the contrary if they are exciting and provocative, that is, if they are understandable and communicative. In the meantime, even those who think are not taken seriously by serious speech. All of this, so that we can roam free, redeemed from things that have purpose and meaning.