Jako kdyby se ji\u017e v\u0161e stalo. Um\u011bn\u00ed opustilo p\u0159edstavu line\u00e1rn\u00edho v\u00fdvoje \u010di pokroku, kter\u00e9 sv\u011bt um\u011bn\u00ed nutily neust\u00e1le hledat nov\u00e9 (kvality, d\u00edla, tv\u016frce, m\u00e9dia). Mimo dikt\u00e1t o\u010dek\u00e1v\u00e1n\u00ed se um\u011bn\u00ed vrac\u00ed ke zkoum\u00e1n\u00ed sv\u00e9 minulosti. Jednotliv\u00e9 n\u00e1vraty ke\u00a0specifick\u00fdm moment\u016fm d\u011bjin um\u011bn\u00ed tematizuj\u00ed nejen form\u00e1ln\u00ed, nebo obsahov\u00e9 prvky, ale obecn\u011b reflektuj\u00ed podm\u00ednky na konci t\u011bchto d\u011bjin. Jako kdybychom p\u0159\u00edm\u00fd a\u00a0osobn\u00ed kontakt s\u00a0minul\u00fdm postupn\u011b nahrazovali odstupem. Tento flanuersk\u00fd postoj m\u011bn\u00ed \u010das nejen ve\u00a0vztahu k\u00a0d\u011bjin\u00e1m, ale tak\u00e9 v\u00a0r\u00e1mci kontaktu s\u00a0um\u011bleck\u00fdm d\u00edlem. Tak\u0159ka archeologick\u00e9 ohled\u00e1v\u00e1n\u00ed minul\u00e9ho se st\u00e1v\u00e1 o\u00a0to siln\u011bj\u0161\u00ed, \u017ee nen\u00ed jen cestou zp\u011bt, ale vtahuje n\u00e1s tak\u00e9 do minul\u00e9 budoucnosti \u2013 k\u00a0reflexi nevyu\u017eit\u00fdch mo\u017enost\u00ed a\u00a0specifick\u00fdch o\u010dek\u00e1v\u00e1n\u00ed tehdej\u0161\u00edch tv\u016frc\u016f.<\/p>\n
Obvykle spojujeme my\u0161len\u00ed konce um\u011bn\u00ed nebo jeho „posthistorie“ s\u00a0readymades, konceptualismem, nebo t\u0159eba nov\u00fdmi m\u00e9dii. Ale od sv\u00e9ho po\u010d\u00e1tku (W.G.F.\u00a0Hegel) a\u017e k\u00a0n\u011bkter\u00fdm vrchol\u016fm (Arthur Danto) je tato my\u0161lenka spojena s\u00a0malbou. P\u0159esto, \u017ee pr\u00e1v\u011b toto m\u00e9dium podle mnoh\u00fdch tvo\u0159\u00ed do sebe uzav\u0159enou, konzervativn\u00ed tradici v\u00a0opozici k\u00a0postmedi\u00e1ln\u00edmu um\u011bn\u00ed, m\u016f\u017eeme malbu znovu vymezit ve\u00a0vztahu ke\u00a0konci um\u011bn\u00ed.<\/p>\n
Arthur Danto um\u00edstil svou verzi t\u00e9to my\u0161lenky do bl\u00edzkosti pop artu, konkr\u00e9tn\u011b k jeho zn\u00e1m\u00e9mu setk\u00e1n\u00ed s\u00a0Brillo Box. Historick\u00fd vrchol kritick\u00fdch mo\u017enost\u00ed um\u011bn\u00ed spat\u0159uje v\u00a0reflexi rozhran\u00ed mezi um\u011bleck\u00fdm d\u00edlem a\u00a0b\u011b\u017en\u00fdm p\u0159edm\u011btem. Po zpochybn\u011bn\u00ed t\u00e9to hranice podle n\u011bj um\u011bn\u00ed ztr\u00e1c\u00ed mo\u017enost line\u00e1rn\u00edho v\u00fdvoje a\u00a0rozpad\u00e1 se do mnohotv\u00e1rn\u00e9 „postnarativn\u00ed“, \u010di „posthistorick\u00e9“ f\u00e1ze: „Postnarativn\u00ed doba nab\u00edz\u00ed \u0161irokou \u0161k\u00e1lu um\u011bleck\u00fdch mo\u017enost\u00ed\u00a0(…). P\u0159\u00edzniv\u00e9 a\u00a0pru\u017en\u00e9 prost\u0159ed\u00ed tohoto p\u0159elomu jist\u011b otev\u00edr\u00e1 prostor pro malbu a\u00a0dokonce tak\u00e9 pro abstraktn\u00ed malbu a\u00a0monochromy.“[1]<\/p>\n
Danto si v\u0161\u00edm\u00e1 p\u0159etrv\u00e1vaj\u00edc\u00ed mo\u017enosti abstraktn\u00ed malby respektive monochrom\u016f a\u00a0na obecn\u00e9 rovin\u011b spojuje my\u0161lenku konce um\u011bn\u00ed s\u00a0reflex\u00ed popul\u00e1rn\u00edch a\u00a0masov\u00fdch m\u00e9di\u00ed. Oba tyto prvky m\u016f\u017eeme sledovat v\u00a0d\u00edle Daniela Vl\u010dka. Jeho tv\u016fr\u010d\u00ed p\u0159\u00edstup vych\u00e1z\u00ed\u00a0 z\u00a0vyu\u017eit\u00ed vinylov\u00fdch desek, jejich\u017e kruhov\u00fd tvar vepisuje do origin\u00e1ln\u00edho v\u00fdtvarn\u00e9ho jazyka. Jeho malby m\u016f\u017eeme ch\u00e1pat jako (postkritick\u00fd) n\u00e1vrat k\u00a0tomuto masov\u00e9mu m\u00e9diu minulosti. Hudba a\u00a0jej\u00ed vn\u00edm\u00e1n\u00ed nach\u00e1z\u00ed novou estetiku. Konec gramofonu se odehr\u00e1v\u00e1 v\u00a0posthistorii malby.<\/p>\n
Levi Van Veluw se zab\u00fdv\u00e1 minulost\u00ed a\u00a0jej\u00edmi estetick\u00fdmi mo\u017enostmi je\u0161t\u011b radik\u00e1ln\u011bji. Ve\u00a0sv\u00e9m aktu\u00e1ln\u00edm cyklu The Collapse of Cohesion o\u017eivuje samotn\u00fd proces konce. S\u00edla obrazu z\u00edsk\u00e1v\u00e1 tvar prchav\u00e9ho momentu a\u00a0estetick\u00e9ho bez\u010das\u00ed z\u00e1rove\u0148. Abstraktn\u00ed a\u00a0p\u0159eci bl\u00edzk\u00fd interi\u00e9r rozev\u00edr\u00e1 \u010dasovou soudr\u017enost, d\u011btstv\u00ed, obrazotvronost stejn\u011b jako t\u0159eba pr\u00e1ci i\u00a0syst\u00e9m pozn\u00e1n\u00ed a\u00a0v\u0161e nab\u00edj\u00ed sv\u00e9bytnou dynamikou.<\/p>\n
Nenach\u00e1z\u00edme okraj zlomu, stejn\u011b tak ani konec um\u011bn\u00ed \u2013 ocitli jsme se v jejich donekone\u010dna prodlu\u017eovan\u00e9m procesu. Pokud tedy v\u016fbec je, nebo bylo n\u011bco takov\u00e9ho jako konec um\u011bn\u00ed, nepochybn\u011b jsme jej p\u0159ekonali.<\/p>\n
V\u00e1clav Jano\u0161\u010d\u00edk<\/p>\n
[1] Arthur Danto, After the End of Art. Princeton: Princeton University Press 1997, s.\u00a048<\/p>","protected":false},"excerpt":{"rendered":"
Jako kdyby se ji\u017e v\u0161e stalo. Um\u011bn\u00ed opustilo p\u0159edstavu line\u00e1rn\u00edho v\u00fdvoje \u010di pokroku, kter\u00e9 sv\u011bt um\u011bn\u00ed nutily neust\u00e1le hledat nov\u00e9 […]<\/p>\n","protected":false},"author":2,"featured_media":843,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[19,4],"tags":[],"class_list":["post-1107","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\/1107","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=1107"}],"version-history":[{"count":10,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/posts\/1107\/revisions"}],"predecessor-version":[{"id":1721,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/posts\/1107\/revisions\/1721"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/media\/843"}],"wp:attachment":[{"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/media?parent=1107"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/categories?post=1107"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/tags?post=1107"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}