Kantova teorie \u00e9ry osv\u00edcenstv\u00ed popisuje dobu, je\u017e rozv\u00edj\u00ed dynamick\u00fd a\u00a0individu\u00e1ln\u00ed zp\u016fsob my\u0161len\u00ed. Lid\u00e9 se p\u0159estali zaob\u00edrat v\u00fdhradn\u011b n\u00e1bo\u017eensk\u00fdmi my\u0161lenkami na posmrtn\u00fd \u017eivot, za\u010dali se v\u00edce zab\u00fdvat sami sebou a\u00a0vlastn\u00ed introspekc\u00ed a\u00a0sv\u016fj pozemsk\u00fd \u017eivot za\u010dali pova\u017eovat za d\u016fle\u017eit\u00fd a\u00a0hodn\u00fd zaznamen\u00e1n\u00ed.<\/p>\n
V\u00a0n\u00e1sleduj\u00edc\u00edch stalet\u00edch si lid\u00e9 nech\u00e1vali zhotovit um\u011bleck\u00e1 d\u00edla, aby vytvo\u0159ili p\u0159ipom\u00ednku sv\u00fdch \u017eivot\u016f a\u00a0zajistili si tak, \u017ee na n\u011b lid\u00e9 nezapomenou ani po smrti. Tyto portr\u00e9ty pln\u00ed nejen roli osobn\u00edch alegori\u00ed, ale i\u00a0dokument\u016f, kter\u00e9 zaznamen\u00e1vaj\u00ed \u010dasto idealizovan\u00fd stav v\u011bc\u00ed. Dalo by se \u0159\u00edci, \u017ee byly vytvo\u0159eny p\u0159edev\u0161\u00edm za \u00fa\u010delem zachov\u00e1n\u00ed sebe sama a\u00a0jsou tedy nositelem \u0159ady o\u010dek\u00e1v\u00e1n\u00ed a\u00a0tu\u017eeb (a\u0165 u\u017e trval\u00fdch \u010di nikoli), kter\u00e9 se p\u0159en\u00e1\u0161ej\u00ed na dal\u0161\u00ed generace.<\/p>\n
Jak\u00e1 jsou v\u0161ak o\u010dek\u00e1v\u00e1n\u00ed portr\u00e9tovan\u00fdch? Doufaj\u00ed, \u017ee dal\u0161\u00ed generace l\u00e9pe porozum\u00ed tomu, k\u00fdm tehdy byli, a\u00a0poznaj\u00ed tak d\u00edky tomu i samy sebe? Nebo jim snad cht\u011bj\u00ed latentn\u011b p\u0159edat hodnotov\u00fd syst\u00e9m a\u00a0pomoci jim pochopit, co to znamen\u00e1 b\u00fdt dobr\u00fdm ob\u010danem? Pravd\u011bpodobn\u011bj\u0161\u00ed je, \u017ee tyto pam\u00e1te\u010dn\u00ed obrazy vznikly z\u00a0marnivosti portr\u00e9tovan\u00fdch, kte\u0159\u00ed doufali, \u017ee je budou dal\u0161\u00ed generace obdivovat a\u00a0zajist\u00ed tak jejich uchov\u00e1n\u00ed pro n\u00e1sleduj\u00edc\u00ed generace. O\u010dek\u00e1vali a\u00a0sobecky tou\u017eili po tom, aby po nich z\u016fstal odkaz.<\/p>\n
V\u00fdstava nazvan\u00e1 Legacy (odkaz) zpochyb\u0148uje tradi\u010dn\u00ed pojet\u00ed uchov\u00e1v\u00e1n\u00ed vzpom\u00ednek a\u00a0nab\u00edz\u00ed alternativn\u00ed p\u0159\u00edstupy k\u00a0pam\u00e1te\u010dn\u00edm portr\u00e9t\u016fm a\u00a0jejich uchov\u00e1v\u00e1n\u00ed, \u010dasto zalo\u017een\u00e9 na v\u011bdom\u00e9m opomenut\u00ed a\u00a0existenci\u00e1ln\u00ed odta\u017eitosti.<\/p>\n
V\u00fdstava si jako hlavn\u00ed m\u00e9dium zvolila film, \u010d\u00edm\u017e zd\u016fraz\u0148uje sou\u010dasnou soub\u011b\u017enou tendenci \u201eskute\u010dnosti\u201c a\u00a0\u201efikce\u201c \u2013\u00a0v\u0161ichni hrajeme hlavn\u00ed roli ve\u00a0sv\u00e9m vlastn\u00edm hollywoodsk\u00e9m\/bollywoodsk\u00e9m filmu \u2013 pohr\u00e1v\u00e1 si s\u00a0my\u0161lenkou, \u017ee jsme v\u0161ichni autory sv\u00e9 vlastn\u00ed historie, kdy\u017e si zakl\u00e1d\u00e1me profily na soci\u00e1ln\u00edch s\u00edt\u00edch a\u00a0pomoc\u00ed fotografi\u00ed a\u00a0film\u016f dokumentujeme vlastn\u00ed \u017eivot. Tato dokumentace pak \u017eije ve virtu\u00e1ln\u00edm prostoru. Jak m\u00e1 mezi masov\u011b nahr\u00e1van\u00fdmi informacemi vyniknout n\u00e1\u0161 odkaz? Nen\u00ed lep\u0161\u00ed se nez\u00fa\u010dastnit a\u00a0ve\u0161ker\u00e9 upom\u00ednkov\u00e9 procesy negovat? A\u00a0pokud tak u\u010din\u00edme, bude na\u0161e existence bezv\u00fdznamn\u00e1?<\/p>\n
V\u00fdstava nab\u00edz\u00ed p\u011bt filmov\u00fdch existenci\u00e1ln\u00edch tez\u00ed, kter\u00e9 prom\u011b\u0148uj\u00ed galerijn\u00ed prostor v\u00a0konfrontaci se sou\u010dasnou zku\u0161enost\u00ed.<\/p>\n
Emilio Chapela Perez v\u00a0d\u00edle \u201eRequiem\u201c (Rekviem) prom\u011b\u0148uje funkci skenov\u00e1n\u00ed z\u00a0dvojrozm\u011brn\u00e9ho kop\u00edrov\u00e1n\u00ed v\u00a0dokumentaci v\u00a0\u201ere\u00e1ln\u00e9m \u010dase\u201c. Tak jako jin\u00ed pou\u017e\u00edvaj\u00ed videokameru, zaznamen\u00e1v\u00e1 Perez\u016fv skener s\u00a0chladnou preciznost\u00ed informace, kter\u00e9 m\u00e1 p\u0159ed sebou. Nesetk\u00e1me se zde v\u0161ak se subjektivn\u00ed osobnost\u00ed kameramana \u2013 skener jako by s\u00a0mimozemskou lhostejnost\u00ed absorboval objektivn\u00ed \u201epravdu\u201c, j\u00ed\u017e je sv\u011bdkem. Obrovsk\u00fd technologick\u00fd oblak na obloze je abstraktn\u00edm a\u00a0nezn\u00e1m\u00fdm str\u00e1\u017ecem na\u0161eho informa\u010dn\u00edho odkazu.<\/p>\n
Jillian Mayer nato\u010dila pro sv\u00e9 budouc\u00ed vnou\u010de videodokument \u201eI\u00a0Am Your Grandma\u201c (Jsem tv\u00e1 babi\u010dka), jen\u017e m\u00e1 rovn\u011b\u017e daleko k\u00a0sentimentalit\u011b. Mayerov\u00e1 v\u00a0n\u011bm pracuje se z\u00e1m\u011brn\u011b absurdn\u00edm konstruktem a\u00a0vytv\u00e1\u0159\u00ed tak neosobn\u00ed a\u00a0teatr\u00e1ln\u00ed vzpom\u00ednku, kter\u00e1 p\u0159evrac\u00ed konven\u010dn\u00ed metody sd\u00edlen\u00ed informac\u00ed i\u00a0o\u010dek\u00e1van\u00fd sled \u017eivotn\u00edch ud\u00e1lost\u00ed \u2013 jej\u00ed v\u00fdpov\u011b\u010f je pro vnou\u010de sice hroziv\u00e1, ale o\u00a0to zaj\u00edmav\u011bj\u0161\u00ed.<\/p>\n
D\u00edlo \u201eIn the Background\u201c (V\u00a0pozad\u00ed) Ronalda Morana je fotografick\u00e1 line\u00e1rn\u00ed sekvence zachycuj\u00edc\u00ed hrav\u00fd \u017eivotn\u00ed okam\u017eik. Star\u0161\u00ed p\u00e1n sed\u00ed vlevo za dv\u011bma star\u0161\u00edmi \u017eenami usazen\u00fdmi na kanapi. Provokuje mal\u00e9 kot\u011b ty\u010dkou a\u00a0sna\u017e\u00ed se je p\u0159im\u011bt ke h\u0159e. \u017dert\u00edk se odehr\u00e1v\u00e1, ani\u017e by si toho \u017eeny v\u0161imly, a\u00a0je tak nav\u017edy ztracen. Jedin\u00fd, kdo o\u00a0n\u011bm v\u00ed, je kameraman, kter\u00fd jej uchov\u00e1 v\u00a0situa\u010dn\u00edm dokumentu podtr\u017een\u00e9m kontrastem moudr\u00fdch tv\u00e1\u0159\u00ed a\u00a0mladistv\u00e9 hravosti kot\u011bte a\u00a0\u0161pr\u00fdma\u0159e.<\/p>\n
Pocit, \u017ee je n\u011bco nav\u017edy ztraceno, je p\u0159\u00edtomen i\u00a0ve\u00a0fotografick\u00fdch dioramatech Rodriga Dady nazvan\u00fdch \u201eForgetfulness\u201c (Zapomn\u011bn\u00ed). Ka\u017ed\u00e9 diorama zachycuje pozad\u00ed \u2013 vy\u0159azen\u00e9 kabely ve sk\u0159\u00edni \u010di kav\u00e1rensk\u00fd stolek \u2013 a\u00a0nedbale pohozenou poma\u010dkanou portr\u00e9tn\u00ed fotografii. Portr\u00e9ty odlo\u017een\u00e9 spolu se star\u00fdmi kabely \u010di slou\u017e\u00edc\u00ed jako c\u00e1r pap\u00edru na psan\u00ed pozn\u00e1mek trp\u00ed \u0161patn\u00fdm zach\u00e1zen\u00edm a\u00a0upadaj\u00ed v\u00a0zapomn\u011bn\u00ed. Jejich nete\u010dn\u00ed u\u017eivatel\u00e9 k\u00a0nim nic nec\u00edt\u00ed a\u00a0chatrn\u00e9 fotografie tak p\u0159est\u00e1vaj\u00ed b\u00fdt nositeli vzpom\u00ednek.<\/p>\n
D\u00edlo \u201eIn Ictu Oculi\u201c Grety Alfaro je situa\u010dn\u00ed konstrukce, kter\u00e1 p\u0159edhod\u00ed opulentn\u00ed hostinu divok\u00fdm dravc\u016fm. B\u011bhem p\u00e1r minut je st\u016fl obklopen supy, kte\u0159\u00ed se zu\u0159iv\u011b prob\u00edjej\u00ed ke\u00a0sv\u00e1te\u010dn\u00ed tabuli. V\u00a0lidsk\u00e9m kontextu znamen\u00e1 hostina slavnost\u00ed n\u00e1ladu a pot\u011b\u0161en\u00ed, tv\u00e1\u0159\u00ed v tv\u00e1\u0159 p\u0159\u00edrod\u011b v\u0161ak p\u0159evl\u00e1dne darwinistick\u00e1 teorie. Sv\u00e1te\u010dn\u00ed prost\u0159en\u00ed brzy podl\u00e9h\u00e1 zk\u00e1ze, j\u00eddlo miz\u00ed, dravci se nasyt\u00ed \u2013 a\u00a0sc\u00e9na je v\u00a0m\u017eiku pr\u00e1zdn\u00e1.<\/p>\n
Greta Alfaro<\/em>, *1977, \u0160pan\u011blsko, tam \u017eije a\u00a0pracuje. Claire Breukel<\/em> je \u0161\u00e9fkur\u00e1torkou programu sou\u010dasn\u00e9ho um\u011bn\u00ed MARTE Contemporary v\u00a0muzeu um\u011bn\u00ed MARTE ve st\u0159edoamerick\u00e9m San Salvadoru. D\u00e1le pracuje na kreativn\u00edch projektech organizace (RED) zam\u011b\u0159en\u00e9 na boj proti\u00a0AIDS, je kreativn\u00ed poradkyn\u00ed nez\u00e1visl\u00e9 ve\u0159ejn\u00e9 organizace Miami Downtown Development Authority a\u00a0kur\u00e1torkou projektu Unscripted, platformy pro um\u011bn\u00ed ve\u00a0ve\u0159ejn\u00e9m prostoru v\u00a0Bal Harbour Village na Florid\u011b.<\/p>","protected":false},"excerpt":{"rendered":" Kantova teorie \u00e9ry osv\u00edcenstv\u00ed popisuje dobu, je\u017e rozv\u00edj\u00ed dynamick\u00fd a\u00a0individu\u00e1ln\u00ed zp\u016fsob my\u0161len\u00ed. Lid\u00e9 se p\u0159estali zaob\u00edrat v\u00fdhradn\u011b n\u00e1bo\u017eensk\u00fdmi my\u0161lenkami na […]<\/p>\n","protected":false},"author":2,"featured_media":896,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[19,4],"tags":[],"class_list":["post-1125","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\/1125","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=1125"}],"version-history":[{"count":11,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/posts\/1125\/revisions"}],"predecessor-version":[{"id":1724,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/posts\/1125\/revisions\/1724"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/media\/896"}],"wp:attachment":[{"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/media?parent=1125"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/categories?post=1125"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/tags?post=1125"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nRodrigo Dada<\/em>, *1987, Kostarika. \u017dije a\u00a0pracuje v\u00a0El Salvadoru.
\nJillian Mayer<\/em>, *1984, \u017eije a\u00a0pracuje na Florid\u011b, USA.
\nRonald Moran<\/em>, *1972 El, Salvador, tam \u017eije a\u00a0pracuje.
\nEmilio Chapela Perez<\/em>, *1978, Mexiko. \u017dije a\u00a0pracuje v\u00a0Berl\u00edn\u011b, N\u011bmecko.<\/p>\n