Mezi dokumentem a\u00a0monumentem<\/p>\n
Fotografie se rozev\u00edr\u00e1 mezi dv\u011bma p\u00f3ly. Jako dokument se v\u0159azuje do \u0159\u00e1du v\u00fdznam\u016f – je v\u017edy dokumentem n\u011b\u010deho. Ale\u00a0m\u016f\u017eeme ji ch\u00e1pat jako monument, kter\u00fd stoj\u00ed p\u0159ed n\u00e1mi; bez vysv\u011btlen\u00ed a\u00a0jednozna\u010dn\u00e9ho v\u00fdznamu n\u00e1s nech\u00e1v\u00e1 d\u00edvat se a\u00a0p\u0159em\u00fd\u0161let v\u00a0nejistot\u011b a\u00a0snad i\u00a0jist\u00e9m \u00fadivu.<\/p>\n
V\u00e1clav Kopeck\u00fd kombinuje zobrazuj\u00edc\u00ed i\u00a0abstraktn\u00ed fotografii. Jeho d\u00edlo m\u016f\u017eeme ch\u00e1pat jako z\u00e1znam ben\u00e1tsk\u00e9ho marat\u00f3nu, ale tak\u00e9 jako obraz skr\u00fdvaj\u00edc\u00ed linie a\u00a0plochy, podobn\u011b jako jeho sv\u00e9r\u00e1zn\u00e9 fotogramy.<\/p>\n
Jan Les\u00e1k reflektuje fotografii v\u00a0kontextu internetu, kter\u00fd \u010dasto poj\u00edm\u00e1me jako univerz\u00e1ln\u00ed datab\u00e1zi obraz\u016f, jako syst\u00e9m, kde je ji\u017e v\u0161echno dokumentov\u00e1no. M\u00edsto tradi\u010dn\u00edho archivn\u00edho p\u0159\u00edstupu ale autor hled\u00e1 v\u00a0hlub\u0161\u00edch struktur\u00e1ch a\u00a0form\u00e1ch; vytv\u00e1\u0159\u00ed monument\u00e1ln\u00ed abstrahovan\u00e9 tvary a\u00a0rozev\u00edr\u00e1 samotn\u00fd form\u00e1t a\u00a0r\u00e1m fotografie i\u00a0fotografovateln\u00e9ho.<\/p>\n
Jan Ma\u0161tera nar\u00e1\u017e\u00ed na schopnost fotografie produkovat d\u016fv\u011bryhodnost, syst\u00e9m a\u00a0teorie. V\u00a0tomto ohledu m\u00e1 na jedn\u00e9 stran\u011b konkr\u00e9tn\u00ed fotografie nedocenitelnou roli dokazovat a\u00a0dokumentovat, ale na druh\u00e9 stran\u011b v\u00a0r\u00e1mci souboru m\u016f\u017ee pokr\u00fdvat p\u0159\u00edmo nezobraziteln\u00e9, monument\u00e1ln\u00ed jevy, nap\u0159\u00edklad stoup\u00e1n\u00ed hladiny oce\u00e1nu, nebo syst\u00e9m ter\u00e9nn\u00edch nerovnost\u00ed. Sv\u016fj v\u00fdzkum prov\u00e1d\u00ed s\u00a0pe\u010dlivost\u00ed, ale i\u00a0nads\u00e1zkou a\u00a0nech\u00e1v\u00e1 vzniknout specifick\u00e9 mytologii.<\/p>\n
Podle Foucaulta p\u0159e\u0161la historie jako v\u011bda od tradi\u010dn\u00ed formy, kdy transformovala monumenty minulosti v\u00a0dokumenty, k\u00a0modern\u00edmu p\u0159\u00edstupu, kter\u00fdm naopak p\u0159ev\u00e1d\u00ed dokumenty v\u00a0monumenty. Zat\u00edmco d\u0159\u00edve bylo t\u0159eba d\u00e1t archeologick\u00fdm n\u00e1lez\u016fm a\u00a0ml\u010d\u00edc\u00edm stop\u00e1m minulosti hlas, nyn\u00ed mus\u00edme mno\u017estv\u00ed pramen\u016f t\u0159\u00eddit, interpretovat a\u00a0vyb\u00edrat modelov\u00e9 p\u0159\u00edpady.<\/p>\n
Archeologie se tak ve\u00a0Foucaultov\u011b pojet\u00ed vrac\u00ed jako metoda vrstven\u00ed dokument\u016f, kter\u00e9 z\u00edsk\u00e1vaj\u00ed historick\u00fd, monument\u00e1ln\u00ed rozm\u011br. Mysl\u00edm, \u017ee pr\u00e1v\u011b tak m\u016f\u017eeme ch\u00e1pat pr\u00e1ci V\u00e1clava Kopeck\u00e9ho, Jana Les\u00e1ka a\u00a0Jana Ma\u0161tery. Jakkoli jsou jejich d\u00edla form\u00e1ln\u011b r\u016fznorod\u00e1, v\u0161ichni auto\u0159i se v\u00a0r\u00e1mci fotografie sna\u017e\u00ed systematicky vyzna\u010dit specifick\u00e9 vrstvy, hledat regularity a\u00a0dokumenty. Estetick\u00e1 forma spo\u010d\u00edv\u00e1 v\u00a0budov\u00e1n\u00ed povrchu, nebo chcete-li rozhran\u00ed; vznik\u00e1 pr\u00e1v\u011b v\u00a0tom momentu, kdy se jednotliv\u00e9 dokumenty v\u0159azuj\u00ed do vrstev. Fotografie se pohybuje od dokumentu k\u00a0monumentu a\u00a0zp\u011bt.<\/p>\n
V\u00e1clav Jano\u0161\u010d\u00edk<\/p>","protected":false},"excerpt":{"rendered":"
Mezi dokumentem a\u00a0monumentem Fotografie se rozev\u00edr\u00e1 mezi dv\u011bma p\u00f3ly. Jako dokument se v\u0159azuje do \u0159\u00e1du v\u00fdznam\u016f – je v\u017edy dokumentem […]<\/p>\n","protected":false},"author":2,"featured_media":827,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[19,4],"tags":[],"class_list":["post-1099","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\/1099","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=1099"}],"version-history":[{"count":5,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/posts\/1099\/revisions"}],"predecessor-version":[{"id":1718,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/posts\/1099\/revisions\/1718"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/media\/827"}],"wp:attachment":[{"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/media?parent=1099"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/categories?post=1099"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/tags?post=1099"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}