Film Eda Harrise Pollock z\u00a0roku 2000 tematizuje \u017eivotn\u00ed osudy abstraktn\u00edho expresionisty, um\u011bleck\u00e9 celebrity americk\u00e9ho publika, dosahuj\u00edc\u00ed sv\u00fdm renom\u00e9 do hollywoodsk\u00e9ho prost\u0159ed\u00ed. P\u0159edstavuje (na b\u00e1zi b\u011b\u017en\u00e9ho div\u00e1ka) v\u00edce \u010di m\u00e9n\u011b zn\u00e1m\u00e9 osobnosti rozvoje pov\u00e1le\u010dn\u00e9ho um\u011bn\u00ed ve\u00a0Spojen\u00fdch st\u00e1tech Peggy Guggenheim, Lee Krasner nebo Clementa Greenberga v typick\u00fdch stylizac\u00edch velkoform\u00e1tov\u00e9ho filmu s\u00a0b\u011b\u017enou distribuc\u00ed. Prezentace emocemi tr\u00fdzn\u011bn\u00e9ho um\u011blce a\u00a0jeho pr\u00e1ce v\u00a0ateli\u00e9ru, na galerijn\u00ed i\u00a0institucion\u00e1ln\u00ed newyorsk\u00e9 sc\u00e9n\u011b je typicky zkratkovit\u00e1. Co je pro n\u00e1s v\u0161ak zaj\u00edmav\u00e9, je zp\u016fsob, jak\u00fdm jsou sc\u00e9ny z\u00a0ateli\u00e9ru pe\u010dliv\u011b konstruovan\u00e9 na z\u00e1klad\u011b fotodokumentace Hanse Namutha, kter\u00e1 celistv\u011b definovala zp\u016fsob, jak\u00fdm jsme se nau\u010dili vn\u00edmat proces Pollockovy pr\u00e1ce. Fotografie se st\u00e1v\u00e1 z\u00e1kladem pozn\u00e1n\u00ed, jedin\u00fdm skute\u010dn\u011b d\u016fv\u011bryhodn\u00fdm zdrojem informac\u00ed. Taryn Simon, dal\u0161\u00ed popul\u00e1rn\u00ed americk\u00e1 celebrita um\u011bleck\u00e9ho sv\u011bta, jej\u00ed\u017e fotografick\u00e1 tvorba je v\u017edy pevn\u011b sepjat\u00e1 s\u00a0textem, v\u00a0jednom z\u00a0rozhovor\u016f \u0159\u00edk\u00e1, \u017ee u\u017e nejsme schopni d\u016fv\u011b\u0159ovat psan\u00e9 informaci, kter\u00e1 nen\u00ed z\u00e1rove\u0148 dolo\u017eena obrazov\u00fdm podkladem. Ingrid\u00a0Shaffner ve sv\u00e9 knize Wall\u00a0Text popisuj\u00edc\u00ed historickou roli textu v\u00a0muzejn\u00edm prost\u0159ed\u00ed naopak tvrd\u00ed, \u017ee vid\u00edme, co je n\u00e1m \u0159e\u010deno. Oba \u00fahly pohledu sm\u011b\u0159uj\u00ed k\u00a0jedin\u00e9mu: je ji\u017e \u00fapln\u011b jedno, jestli Pollock tvo\u0159il poka\u017ed\u00e9 sv\u00e1 pl\u00e1tna v\u00a0horizont\u00e1ln\u00ed poloze v\u00a0extatick\u00e9m tanci expresivn\u00edch gest a\u00a0pohyb\u016f, d\u016fle\u017eit\u00e9 je, \u017ee z\u00a0fotografi\u00ed v\u00edme, jak takov\u00fd proces vypadal, kdy\u017e se odehr\u00e1val.<\/p>\n
Du\u0161an Zahoransk\u00fd a\u00a0Florian Slotawa spole\u010dn\u011b ohled\u00e1vaj\u00ed z\u00a0r\u016fzn\u00fdch \u00fahl\u016f pohledu vztah um\u011blce a\u00a0jeho ateli\u00e9ru, vztah procesu a\u00a0v\u00fdsledku, realizace a\u00a0jej\u00edho p\u0159edobrazu, referenc\u00ed a\u00a0z\u00e1kladu v\u00a0intimn\u00edm pracovn\u00edm prost\u0159ed\u00ed. Zat\u00edmco Florian p\u0159edstavuje p\u0159\u00edmou vazbu um\u011blce a\u00a0m\u00edsta, Du\u0161an vn\u00edm\u00e1 zp\u011btnou vazbu k\u00a0prost\u0159ed\u00ed skrze historick\u00e9 pr\u00e1ce a\u00a0jejich osudy.<\/p>\n
Konfrontace white cube Drdova Gallery a\u00a0syrov\u00e9ho industri\u00e1ln\u00edho prostoru Centra pro sou\u010dasn\u00e9 um\u011bn\u00ed dynamick\u00e9 sv\u00fdmi kontinu\u00e1ln\u00edmi prom\u011bnami\/konfrontace dvou prostor\u016f na opa\u010dn\u00fdch stran\u00e1ch m\u011bsta, nab\u00edz\u00ed dal\u0161\u00ed roz\u0161\u00ed\u0159en\u00ed jejich anal\u00fdzy.<\/p>\n
Pam\u00e1tn\u00edk na \u017di\u017ekov\u011b vych\u00e1zej\u00edc\u00ed z\u00a0v\u00edt\u011bzn\u00e9ho n\u00e1vrhu Jana Z\u00e1zvorky a\u00a0Jana Gillara ve ve\u0159ejn\u00e9 architektonick\u00e9 a\u00a0socha\u0159sk\u00e9 sout\u011b\u017ei z\u00a0roku 1925 p\u0159edch\u00e1z\u00ed historie dvou dal\u0161\u00edch sout\u011b\u017en\u00edch kol v\u00a0letech 1913 a\u00a01923, po nich\u017e p\u0159es mno\u017estv\u00ed kvalitn\u00edch n\u00e1vrh\u016f nedo\u0161lo k\u00a0fin\u00e1ln\u00ed realizaci. Sout\u011b\u017e z\u00a0roku 1913 smetla ze stolu Prvn\u00ed sv\u011btov\u00e1 v\u00e1lka a\u00a0v\u00a0roce 1923 \u017e\u00e1dn\u00fd z\u00a0n\u00e1vrh\u016f neobst\u00e1l natolik, aby se ze skic a\u00a0n\u00e1vrh\u016f p\u0159enesl do skute\u010dnosti. Zdlouhav\u00fd proces v\u00fdb\u011bru a\u00a0krvav\u00e9 v\u00e1le\u010dn\u00e9 intermezzo mezi jednotliv\u00fdmi sout\u011b\u017eemi st\u00e1l nejen ztr\u00e1tu kvalitn\u00edch n\u00e1vrh\u016f, ale i\u00a0odvahu a\u00a0avantgardn\u00ed nad\u0161en\u00ed tolik rezonuj\u00edc\u00ed ve\u00a0v\u00fdstupech sout\u011b\u017ee v\u00a0roce\u00a01913. Modernistick\u00e9 tendence bl\u00edzk\u00e9 architektonick\u00e9mu kubismu v\u00a0n\u00e1vrz\u00edch Pavla Jan\u00e1ka, Otto Guttfreunda, Bed\u0159icha Feuersteina, Otakara \u0160vece a\u00a0Josefa Go\u010d\u00e1ra doslova s\u00e1laj\u00ed energi\u00ed prezentovat nov\u00e9 atypick\u00e9 socha\u0159sk\u00e9 a\u00a0prostorov\u00e9 formy. Stejn\u011b tak n\u00e1vrh Jana Kot\u011bry a\u00a0Jana \u0160tursy prezentuj\u00edc\u00ed dynamick\u00e9 figury v\u00a0pohybu bl\u00edzk\u00e9m dekonstrukci filmov\u00e9ho p\u00e1su, nikoli nepodobn\u00e9 o\u00a0rok mlad\u0161\u00edmu Aktu sestupuj\u00edc\u00edmu ze schod\u016f, \u010d.\u00a02\u00a0Marcela Duchampa. Stejn\u011b tak n\u00e1vrh Vlastislava Hoffmana a\u00a0Ladislava Bene\u0161e komponov\u00e1n\u00edm hmot bl\u00edzk\u00fd centru theosofismu, Goetheanum ve\u00a0\u0161v\u00fdcarsk\u00e9m Dornachu. Stejn\u011b tak mysticky p\u016fsob\u00edc\u00ed monument\u00e1ln\u00ed budova\/plastika Josipa Ple\u010dnika.<\/p>\n
N\u00e1vrhy z\u00a020.\u00a0let jsou mnohem st\u0159\u00eddm\u011bj\u0161\u00ed, realisti\u010dt\u011bj\u0161\u00ed, \u010dasto vyu\u017e\u00edvaj\u00edc\u00ed strukturu a\u00a0tvaroslov\u00ed historick\u00fdch styl\u016f, vedouc\u00ed a\u017e ke klasicistn\u011b stylizovan\u00e9mu v\u00edt\u011bzn\u00e9mu n\u00e1vrhu s\u00a0obrovskou nad\u017eivotn\u00ed jezdeckou sochou Jana \u017di\u017eky od socha\u0159e Bohumila Kafky.<\/p>\n
Nad volnou socha\u0159skou prac\u00ed tak zv\u00edt\u011bzila nacionalistick\u00e1 energie pevn\u00e9ho \u0159\u00e1du nov\u00e9ho st\u00e1tn\u00edho \u00fatvaru, vze\u0161l\u00e9ho z\u00a0trosek sv\u011btov\u00e9ho konfliktu, po n\u011bm\u017e pro lehkost nevyzbylo mnoho prostoru.<\/p>\n
\u017di\u017ekovsk\u00fd pam\u00e1tn\u00edk v\u00a0sob\u011b propojuje jednotliv\u00e9 vrstvy projekc\u00ed jeho mo\u017en\u00e9ho zez\u0159en\u00ed, tv\u016fr\u010d\u00ed invence dvou generac\u00ed um\u011blc\u016f, dvou zcela odli\u0161n\u00fdch historick\u00fdch \u00fadob\u00ed odd\u011blen\u00fdch dek\u00e1dou, kter\u00e1 absolutn\u011b prom\u011bnila politick\u00e9, soci\u00e1ln\u00ed i\u00a0kulturn\u00ed klima v\u00a0cel\u00e9 Evrop\u011b. Du\u0161an jednotliv\u00e9 vybran\u00e9 vrstvy analyzuje pomoc\u00ed sv\u00e9 tvorb\u011b vlastn\u00edmu m\u00e9diu sochy a\u00a0instalace a\u00a0vytv\u00e1\u0159\u00ed fiktivn\u00ed narace alternativn\u00edch podob pam\u00e1tn\u00edku pomoc\u00ed tenze mezi sochou a\u00a0jej\u00edm pohybem v\u00a0\u010dase skrze reference k\u00a0filmu i\u00a0statick\u00e9mu fotografick\u00e9mu obrazu. Tenze mezi dokumentac\u00ed a\u00a0fiktivn\u00ed ideovou projekc\u00ed, kter\u00e1 se zhmot\u0148uje v\u00a0prostoru. Ukazuje obraz mo\u017en\u00e9ho jako d\u016fkaz skute\u010dn\u00e9 p\u0159\u00edtomnosti pod povrchem zcela odli\u0161n\u00e9 fin\u00e1ln\u00ed podoby. V\u00a0line\u00e1rn\u011b konstruovan\u00fdch, vz\u00e1jemn\u011b paraleln\u00edch \u010dasov\u00fdch os\u00e1ch \u00fast\u00ed do bodu, kdy fragment realizovan\u00e9 Kafkovy sochy spojuje pomoc\u00ed sv\u011btla na principu camery obscury prostor galerie a\u00a0jej\u00edho nejbli\u017e\u0161\u00edho okol\u00ed. Klasick\u00fd charakter galerijn\u00ed white cube je vyu\u017eit jako prezenta\u010dn\u00ed mezistupe\u0148 mezi ateli\u00e9rem a\u00a0ve\u0159ejn\u00fdm prostorem, proto i\u00a0jejich vz\u00e1jemn\u00e9 propojen\u00ed v\u00a0p\u0159edstav\u011b propojen\u00ed jednotliv\u00fdch obsahov\u00fdch vrstev n\u011b\u010d\u00edm na prvn\u00ed pohled tak ban\u00e1ln\u00edm jako je p\u0159irozen\u00e9 venkovn\u00ed sv\u011btlo.<\/p>\n
Florianovy fotografie reprezentuj\u00ed v\u00a0jeho uva\u017eov\u00e1n\u00ed charakter krajiny. Tv\u016fr\u010d\u00edho prostoru, kde nen\u00ed d\u016fle\u017eit\u00e1 vazba interi\u00e9ru a\u00a0exteri\u00e9ru, ob\u011b roviny jsou toti\u017e propojen\u00e9. Ateli\u00e9r jako artefici\u00e1ln\u00ed prostor tak nab\u00edr\u00e1 p\u0159irozen\u00e9 kvality soum\u011b\u0159iteln\u00e9 se z\u00e1b\u011bry p\u0159\u00edrody. Jde o\u00a0zcela konkr\u00e9tn\u00ed prostor s\u00a0jasnou funkc\u00ed, kter\u00e1 je postupnou prom\u011bnou deformov\u00e1na a\u00a0zneji\u0161t\u011bna. Vypr\u00e1zdn\u011bn\u00e9 z\u00e1b\u011bry v\u00a0sob\u011b nesou nevid\u011bnou informaci pozad\u00ed fotoapar\u00e1tu, za kter\u00fdm se nach\u00e1z\u00ed konstrukce v\u0161ech p\u0159edm\u011bt\u016f, objekt\u016f, um\u011bleck\u00fdch d\u011bl a\u00a0n\u00e1stroj\u016f, kter\u00e9 by jinak z\u016fstaly v z\u00e1b\u011bru. Florian pro ka\u017ed\u00fd sn\u00edmek p\u0159eskl\u00e1dal studio, aby postihl pouze jeho pr\u00e1zdn\u00fd skelet. Do\u00a0zna\u010dn\u00e9 m\u00edry jde o\u00a0inverzi jeho p\u0159edchoz\u00edho fotografick\u00e9ho projektu, p\u0159i kter\u00e9m v hotelov\u00fdch pokoj\u00edch v\u00a0nejrozli\u010dn\u011bj\u0161\u00edch lokalit\u00e1ch (v\u010detn\u011b pra\u017esk\u00e9ho hotelu Evropa), pe\u010dliv\u011b komponoval dekonstruovan\u00e9 prvky hotelov\u00e9ho pevn\u00e9ho i\u00a0mobiln\u00edho vybaven\u00ed. Sn\u00edmky tak v\u00a0iluzi kompaktnosti v\u00a0\u010dase nab\u00edz\u00ed postupnou dynamickou prom\u011bnu, p\u0159\u00edmo nevn\u00edmatelnou rekonfiguraci vlastn\u00edho studia. S\u00e9rie se tak d\u00e1 pova\u017eovat za dokumentaci performance, kter\u00e1 prob\u00edh\u00e1 mimo z\u00e1b\u011br fotoapar\u00e1tu, kdy um\u011blec tr\u00e1v\u00ed dlouh\u00e9 dny t\u011b\u017ek\u00e9 pr\u00e1ce pro proveden\u00ed jedin\u00e9ho sn\u00edmku. Element \u010dasovosti a\u00a0zd\u00e1nliv\u011b bezv\u00fdznamn\u00e9 pr\u00e1ce je pro toto d\u00edlo tak zcela esenci\u00e1ln\u00ed, a\u010d nejsou v\u00a0n\u011bm samotn\u00e9m jakkoli prezentov\u00e1ny. Nov\u00e1 konfigurace sn\u00edmk\u016f v\u00a0prostoru b\u00fdval\u00e9 pek\u00e1rny, nyn\u00ed Centra pro sou\u010dasn\u00e9 um\u011bn\u00ed v\u00a0Praze, znovu ukazuje na vlo\u017een\u00fdch fragmentech dekonstruovan\u00e9 white cube s\u00a0v\u00fdrazn\u00fdm socha\u0159sk\u00fdm charakterem mo\u017enost pr\u016fhledu skrze Florian\u016fv ateli\u00e9r. Tentokr\u00e1t v\u0161ak z\u00e1rove\u0148 nazna\u010duj\u00edc\u00ed reflex\u00ed zbytku prostoru, kter\u00fd sice na instalaci sn\u00edmk\u016f nijak neparticipuje, zd\u00e1nliv\u011b jen tvo\u0159\u00ed pozad\u00ed s\u00a0charakterem sou\u010dasn\u00e9 popul\u00e1rn\u00ed estetiky post-industri\u00e1ln\u00edch v\u00fdstavn\u00edch prostor, p\u0159itom v\u0161ak jasn\u011b definuje kontext vzniku sn\u00edmk\u016f. \u010cist\u00e1 prostora na fotografii, v\u016f\u010di neupraven\u00e9mu, syrov\u00e9mu, procesu\u00e1ln\u00edmu pozad\u00ed.<\/p>\n
Fr\u00e1ze I\u00a0Could Have Just Set It on Fire zn\u00ed skoro jako ze skladby Davida Bowieho. Z\u00e1rove\u0148 ale m\u016f\u017ee b\u00fdt jen jednoduch\u00fdm povzdechem um\u011blce. Povzdechem nad nerealizovan\u00fdm n\u00e1vrhem, promarn\u011bn\u00fdm \u010dasem a energi\u00ed. Boris Groys ve\u00a0sv\u00e9m ned\u00e1vn\u00e9m textu The Truth of Art popisuje prom\u011bnu pozice um\u011blce s\u00a0n\u00e1stupem na\u0161\u00ed digit\u00e1ln\u00ed doby, kdy virtu\u00e1ln\u00ed prostor tvo\u0159\u00ed nejp\u0159irozen\u011bj\u0161\u00ed kan\u00e1l distribuce um\u011bn\u00ed. Zmi\u0148uje anekdotu Andr\u00e9 Bretona o\u00a0francouzsk\u00e9m b\u00e1sn\u00edkovi, kter\u00fd ka\u017edou noc ne\u017e \u0161el sp\u00e1t pov\u011bsil na kliku sv\u00e9ho pokoje cedulku s\u00a0textem: \u201cPros\u00edm ticho, um\u011blec pracuje\u201d. Bretonova historka shrnuje p\u0159edstavu o\u00a0tv\u016fr\u010d\u00ed pr\u00e1ci za hranic\u00ed ve\u0159ejn\u00e9ho, v\u00a0izolaci, bez mo\u017enosti okol\u00ed jakkoli vn\u00edmat proces tvorby. Odd\u011blen\u00ed od okol\u00ed se dnes skoro ji\u017e nezd\u00e1 mo\u017en\u00e9 vzhledem k\u00a0neust\u00e1le virtu\u00e1ln\u00ed i\u00a0re\u00e1ln\u00e9 soci\u00e1ln\u00ed konfrontaci nap\u0159\u00ed\u010d mezin\u00e1rodn\u00edm prostorem sv\u011bta um\u011bn\u00ed. Pr\u00e1ce um\u011blce je dnes ve\u0159ejn\u00fdm vlastnictv\u00edm, nav\u00edc ka\u017ed\u00fd je ve\u00a0sv\u00e9 podstat\u011b d\u00edky soci\u00e1ln\u00edm s\u00edt\u00edm sv\u00e9ho druhu um\u011blcem, jak si \u010dasto povzdychuje Hito Steyerl.<\/p>\n
Du\u0161anova a\u00a0Florianova pr\u00e1ce ukazuje opa\u010dnou str\u00e1nku na\u0161\u00ed doby, vrac\u00ed se v\u00a0\u010dase do mnohem tradi\u010dn\u011bj\u0161\u00edch form\u00e1t\u016f a\u00a0p\u0159esto\u017ee v\u00fdsledky jejich pr\u00e1ce jsou jen dal\u0161\u00ed zast\u00e1vkou v\u00a0kontinu\u00e1ln\u00edm procesu, demonstruj\u00ed svoji fyzickou p\u0159\u00edtomnost\u00ed v\u00a0galerii jist\u00e9 odhodl\u00e1n\u00ed p\u0159ekonat onen povzdech titulu v\u00fdstavy.<\/p>\n
kur\u00e1tor Jen Kratochvil<\/p>","protected":false},"excerpt":{"rendered":"
Film Eda Harrise Pollock z\u00a0roku 2000 tematizuje \u017eivotn\u00ed osudy abstraktn\u00edho expresionisty, um\u011bleck\u00e9 celebrity americk\u00e9ho publika, dosahuj\u00edc\u00ed sv\u00fdm renom\u00e9 do hollywoodsk\u00e9ho […]<\/p>\n","protected":false},"author":2,"featured_media":792,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[19,4],"tags":[],"class_list":["post-1078","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exhibitions-homepage","category-exhibitions","wpautop"],"acf":[],"_links":{"self":[{"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/posts\/1078","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/comments?post=1078"}],"version-history":[{"count":6,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/posts\/1078\/revisions"}],"predecessor-version":[{"id":1717,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/posts\/1078\/revisions\/1717"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/media\/792"}],"wp:attachment":[{"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/media?parent=1078"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/categories?post=1078"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/tags?post=1078"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}