V\u00e1clav Kopeck\u00fd vystavuje v\u00fdstavu. Stejnojmenn\u00e1 v\u00fdstava prob\u00edhala v l\u00e9t\u011b v \u010deskobud\u011bjovick\u00e9m Dom\u011b um\u011bn\u00ed, div\u00e1k se s n\u00ed nav\u00edc na m\u00edst\u011b v Drdova Gallery seznamuje pouze prost\u0159ednictv\u00edm r\u016fzn\u00fdch odkaz\u016f: \u00fatl\u00e9ho katalogu s n\u011bkolika\u00a0reprodukcemi, deinstalovan\u00fdch fotografi\u00ed a vystaven\u00e9ho porcel\u00e1nu Anton\u00edna Tom\u00e1\u0161ka. Pracuje se tu s histori\u00ed konkr\u00e9tn\u00ed v\u00fdstavy, kter\u00e1 nejen\u017ee byla, ale sou\u010dasn\u011b je. Ukazuje n\u00e1m situaci po dernis\u00e1\u017ei a z\u00e1rove\u0148 t\u011bsn\u011b p\u0159ed vernis\u00e1\u017e\u00ed, kdy\u017e se fotografi\u00ed zab\u00fdv\u00e1 v n\u011bkolika \u00farovn\u00edch nar\u00e1z. N\u00e1zvem v\u00fdstavy odkazuje k reprodukc\u00edm, kter\u00e9 vytv\u00e1\u0159\u00ed sama p\u0159\u00edroda, vystaven\u00fdm porcel\u00e1nem k reprodukovateln\u00fdm odlitk\u016fm, kter\u00e9 jsou v jist\u00e9m slova smyslu origin\u00e1lem a kopi\u00ed sou\u010dasn\u011b, a kone\u010dn\u011b katalogem k fotografii u\u017e\u00edvan\u00e9 ve form\u011b dokumentace v\u00fdstavy, kter\u00e1 u\u017e nen\u00ed. Kdy\u017e mi V\u00e1clav sv\u016fj z\u00e1m\u011br popisoval, p\u0159edstavovala jsem si r\u016fzn\u00e9 pr\u00e1zdn\u00e9 galerie v d\u011bjin\u00e1ch um\u011bn\u00ed, kter\u00e9 zn\u00e1m samoz\u0159ejm\u011b jen zprost\u0159edkovan\u011b, z fotografi\u00ed a z knih: nap\u0159. na Yvese Kleina, kter\u00fd na konci pades\u00e1t\u00fdch let vystavil pr\u00e1zdno v jedn\u00e9 pa\u0159\u00ed\u017esk\u00e9 galerii,\u00a0 ale tak\u00e9 na George Brechta a jeho prezentaci Three Chair Events v\u00a0Martha Jackson Gallery v\u00a0New Yorku, asi proto, \u017ee v\u00fdloha do ulice, tak jak je zachycena na dokumenta\u010dn\u00ed fotografii, mo\u017en\u00e1 n\u011b\u010d\u00edm p\u0159ipom\u00edn\u00e1 galerii Lucie Drdov\u00e9. Jak je patrn\u00e9, d\u016fle\u017eitou roli hr\u00e1la konkr\u00e9tn\u00ed realizace p\u016fvodn\u00ed my\u0161lenky, kterou siln\u011b ovlivnil dan\u00fd prostor a div\u00e1ci. Pr\u00e1v\u011b nedokonalost fin\u00e1ln\u00edho proveden\u00ed, omezen\u00e9ho re\u00e1ln\u00fdmi podm\u00ednkami, m\u016f\u017ee b\u00fdt pro n\u00e1s dnes zaj\u00edmav\u00e1.\u00a0 Proto je nakonec u t\u00e9to v\u00fdstavy pr\u00e1zdn\u00e1 galerie jen jednou z \u00farovn\u00ed v\u00fdstavy, ale rozhodn\u011b ne zam\u00fd\u0161len\u00fdm v\u00fdsledkem. Nem\u00e1 b\u00fdt ambici\u00f3zn\u00edm gestem, ale pouze v\u011bdom\u00fdm \u00fasil\u00edm do d\u016fsledku vyu\u017e\u00edvat prost\u0159edky, kter\u00e9 jsou k\u00a0dispozici.
\n\u00a0
\nV\u00e1clav Kopeck\u00fd vystudoval fotografii na Univerzit\u011b Jana Evangelisty Purkyn\u011b v \u00dast\u00ed nad Labem (u Pavla Ba\u0148ky) a na Vysok\u00e9 \u0161kole um\u011bleckopr\u016fmyslov\u00e9 v Praze (u Aleksandry Vajd a Hynka Alta). Kontinu\u00e1ln\u011b se zab\u00fdv\u00e1 fotografi\u00ed nejen jako n\u00e1strojem k zrcadlen\u00ed skute\u010dnosti, ale jako fyzickou v\u011bc\u00ed, kter\u00e1 zapl\u0148uje prostor a m\u011bn\u00ed charakter na\u0161eho pohledu. Analyzuje fotografii jako pam\u011b\u0165ov\u00e9 m\u00e9dium, s n\u00edm\u017e se poj\u00ed specifick\u00e1 historie a technologie \u2013 ve sv\u00fdch v\u00fdstav\u00e1ch odkazuje k uzav\u0159en\u00e9mu sv\u011btu, kter\u00fd funguje podle vlastn\u00edch pravidel. S\u00e1m fotografie zpracov\u00e1v\u00e1 klasick\u00fdmi postupy, jakoby se sna\u017eil nostalgii spojenou s analogovou fotografi\u00ed vyt\u011b\u017eit na maximum. O fotografick\u00e9m m\u00e9diu uva\u017euje jako o zp\u016fsobu naz\u00edr\u00e1n\u00ed na sv\u011bt, k\u00a0n\u011bmu\u017e hled\u00e1 r\u016fzn\u00e9 paralely, nap\u0159. v\u00a0podob\u011b nalezen\u00e9ho otisku, z\u00e1znamu sv\u011btla, usm\u011brn\u011bn\u00ed pohledu. Analogicky pracuje i s instalac\u00ed v\u00fdstavy, nap\u0159. kdy\u017e pomoc\u00ed sv\u011btlocitliv\u00e9 emulze nech\u00e1v\u00e1 na st\u011bn\u00e1ch galerie vyvstat otisk jej\u00ed vlastn\u00ed podoby.
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\nHana Buddeus<\/p>","protected":false},"excerpt":{"rendered":"
V\u00e1clav Kopeck\u00fd vystavuje v\u00fdstavu. Stejnojmenn\u00e1 v\u00fdstava prob\u00edhala v l\u00e9t\u011b v \u010deskobud\u011bjovick\u00e9m Dom\u011b um\u011bn\u00ed, div\u00e1k se s n\u00ed nav\u00edc na m\u00edst\u011b v Drdova Gallery seznamuje […]<\/p>\n","protected":false},"author":2,"featured_media":864,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[19,4],"tags":[],"class_list":["post-1111","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\/1111","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=1111"}],"version-history":[{"count":3,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/posts\/1111\/revisions"}],"predecessor-version":[{"id":1114,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/posts\/1111\/revisions\/1114"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/media\/864"}],"wp:attachment":[{"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/media?parent=1111"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/categories?post=1111"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/tags?post=1111"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}