B\u011b\u017e\u00edm zp\u011bn\u011bnou tmou a jen velmi obt\u00ed\u017en\u011b rozezn\u00e1v\u00e1m jemnosti okoln\u00edch hmot a tvar\u016f. Z\u00e1chytn\u00e9 body se postupn\u011b vytratily pod zvy\u0161uj\u00edc\u00edm se pulsem p\u0159er\u00fdvav\u00e9ho dechu. Cosi hled\u00e1m, ale kontury toho, co jsem p\u016fvodn\u011b vid\u011bl a s \u010d\u00edm se sna\u017e\u00edm znova st\u0159etnout, se rozpadly. Prod\u00edr\u00e1m se k\u0159ov\u00edm – tady to p\u0159ece n\u011bkde muselo b\u00fdt – marn\u011b v b\u011bhu m\u011bn\u00edm sm\u011bry, abych nakonec zjistil, \u017ee se to\u010d\u00edm v kruz\u00edch. Nen\u00ed to tady, v noci to tady prost\u011b nen\u00ed, ani on u\u017e tady nen\u00ed. Nebo mo\u017en\u00e1 ano, co\u017e by bylo hor\u0161\u00ed, m\u016f\u017ee m\u011b celou dobu pozorovat. On nebo ta d\u00edvka a jej\u00ed v\u010dely. Po nes\u010detn\u00e9m \u010dase, tot\u00e1ln\u011b vy\u010derpan\u00e9ho, zastihne m\u011b pln\u00fd m\u011bs\u00edc pr\u00e1v\u011b rozehr\u00e1vaj\u00edc\u00ed novou no\u010dn\u00ed hru. Vzd\u00e1v\u00e1m to. Sna\u017e\u00edm se zorientovat, nev\u00edm, jen se sna\u017e\u00edm dr\u017eet p\u0159\u00edm\u00fd sm\u011br a po dal\u0161\u00ed v\u011b\u010dnosti se dostanu na jednu ze silnic vedouc\u00edch k centru Kasselu. Karlsaue Park nech\u00e1v\u00e1m za sebou, stejn\u011b tak vidinu toho psa, sen o ciz\u00edm prostoru, kter\u00fd \u017eije zahalen\u00fd pod rou\u0161kou tmy, v naprost\u00e9m nedostupnu mimo zraky denn\u00edch n\u00e1v\u0161t\u011bvn\u00edk\u016f Dokumenta.
\n\u00a0
\nNaddimenzovan\u00fd, lehce emotivn\u011b vyhrocen\u00fd form\u00e1t m\u00e9ho osobn\u00edho z\u00e1\u017eitku s instalac\u00ed Pierra Huygha pro Dokumenta 13 je p\u0159edobrazem cel\u00e9 t\u00e9to v\u00fdstavy. Moment, kter\u00fd si nev\u00e1h\u00e1m ozna\u010dit za inicia\u010dn\u00ed – st\u0159etnut\u00ed s podivn\u011b vychrtl\u00fdm psem s magentovou nohou uprost\u0159ed upraven\u00e9ho barokn\u00edho parku kasselsk\u00e9 Orangerie – redefinoval percep\u010dn\u00ed predispozice pro jak\u00fdkoli m\u016fj dal\u0161\u00ed kontakt se sou\u010dasn\u00fdm um\u011bn\u00edm. Prve zcela iracion\u00e1ln\u011b. Podobn\u011b jako samotn\u00e9 sledov\u00e1n\u00ed psa postupn\u011b se zhu\u0161\u0165uj\u00edc\u00edm a chaoti\u010dt\u011bj\u0161\u00edm porostem jedovat\u00fdch a halucinogenn\u00edch rostlin, vedouc\u00edch do rumi\u0161t\u011b korunovan\u00e9ho v\u010del\u00edm \u00falem na hlav\u011b le\u017e\u00edc\u00ed d\u00edvky. Pozd\u011bji s analytickou snahou o odhalen\u00ed syst\u00e9mu p\u0159i proch\u00e1zen\u00ed retrospektivn\u00ed v\u00fdstavy Pierra Huygha v Centre Pompidou v Pa\u0159\u00ed\u017ei.
\n\u00a0
\nVe\u0161ker\u00e9 reflektovan\u00e9 sou\u010dasn\u00e9 um\u011bn\u00ed vznik\u00e1 na b\u00e1zi kulturn\u011b soci\u00e1ln\u00edho transferu. Prolinkov\u00e1n\u00ed um\u011bleck\u00e9ho sv\u011bta p\u0159es rann\u00ed k\u00e1vu u Contemporary Art Daily, ka\u017edodenn\u00ed d\u00e1vku newsletter\u016f z e-fluxu a fyzick\u00e9 cestov\u00e1n\u00ed nap\u0159\u00ed\u010d z\u00e1padn\u00edm i v\u00fdchodn\u00edm kontextem kv\u016fli efemern\u00edmu pro\u017eitku z v\u00fdstav jako intencion\u00e1ln\u00ed forma programov\u00e9 konzumace um\u011bn\u00ed a jeho dal\u0161\u00edho \u0161\u00ed\u0159en\u00ed. Na druh\u00e9 stran\u011b v\u00edce m\u00e9n\u011b automatick\u00e9 a polov\u011bdom\u00e9 vst\u0159eb\u00e1v\u00e1n\u00ed n\u00e1hodn\u00e9ho v\u00fdb\u011bru podn\u011bt\u016f z r\u016fznostrann\u011b rozpt\u00fdlen\u00e9ho aktu\u00e1ln\u00edho okol\u00ed. Autonomn\u00ed um\u011bleck\u00fd po\u010din, vytr\u017een\u00fd z celkov\u00e9 mno\u017einy lini\u00ed propojuj\u00edc\u00edch um\u011bleck\u00fd sv\u011bt, je prakticky nemo\u017en\u00fd, objev\u00ed-li se a vzbud\u00ed diskuzi, je nutn\u00e9 jej okam\u017eit\u011b or\u00e1movat roz\u0161i\u0159uj\u00edc\u00edm se polem sou\u010dasn\u00e9ho um\u011bn\u00ed. Um\u011bleck\u00fd sv\u011bt se v kruhov\u00fdch staz\u00edch vztahuje v\u016f\u010di sob\u011b sam\u00e9mu navz\u00e1jem a tento postup pasuje za regul\u00e9rn\u00ed metodick\u00fd form\u00e1t geneze dal\u0161\u00edho a dal\u0161\u00edho um\u011bn\u00ed. Reflexe a p\u0159isvojen\u00ed ve sv\u00e9 legitimit\u011b z\u016fst\u00e1v\u00e1 v\u0161ak ve v\u011bt\u0161in\u011b anonymn\u00ed. Linie vedou sice p\u0159\u00edmo, ale nejsou popsan\u00e9. Pierre Huyghe, my\u0161lena tato v\u00fdstava, je konkretizac\u00ed jedn\u00e9 z takov\u00fdch jemn\u00fdch linek. Fascinace d\u00edlem um\u011blce, subjektivizace jeho \u010dten\u00ed, adaptovan\u00e9 p\u0159isvojen\u00ed do parametr\u016f vlastn\u00edho projevu, je zde p\u0159iznan\u00fdm, jasn\u011b deklarovan\u00fdm stanoviskem.
\n\u00a0
\nJednotliv\u00ed um\u011blci vybran\u00ed pro tuto v\u00fdstavu z rozli\u0161n\u00fdch v\u00fdchoz\u00edch pozic a \u00fahl\u016f vn\u00edm\u00e1n\u00ed za\u0159adili vjem z pr\u00e1ce Pierra Huygha do sv\u00e9 tv\u016fr\u010d\u00ed praxe, podobn\u011b jako j\u00e1 v roli kur\u00e1tora. Vzhledem k tenkosti p\u0159ediva propojuj\u00edc\u00edho jednotliv\u00e9 um\u011blce navz\u00e1jem, jako i s Huyghem samotn\u00fdm, nedoch\u00e1z\u00ed k p\u0159ehl\u00eddce sv\u00e9bytn\u00fdch prezentac\u00ed vyhran\u011bn\u00fdch tv\u016fr\u010d\u00edch identit. Naopak vznik\u00e1 kolektivn\u00ed d\u00edlo m\u00e9dia v\u00fdstavy, postupn\u011b generovan\u00e9 vz\u00e1jemnou diskuz\u00ed mezi um\u011blci v pr\u016fb\u011bhu p\u0159\u00edprav v\u00fdstavy. V\u00fdsledn\u00fd celek, stejn\u011b jako v p\u0159\u00edpad\u011b pr\u00e1ce Pierra Huygha, existuje coby sob\u011bsta\u010dn\u00fd environment fluidn\u00edch v\u00fdznam\u016f a vz\u00e1jemn\u00fdch vy\u0159\u010den\u00fdch i skryt\u00fdch sd\u011blen\u00ed. Je mo\u017en\u00e9 jej vn\u00edmat jako seri\u00f3zn\u00ed koment\u00e1\u0159 k aktu\u00e1ln\u00edmu stavu um\u011bn\u00ed, k vazb\u00e1m nap\u0159\u00ed\u010d jeho sv\u011btem, st\u00e1le problematick\u00e9mu vztahu centra a periferie a mno\u017estv\u00ed dal\u0161\u00edch ot\u00e1zek. Sou\u010dasn\u011b se tak\u00e9 jedn\u00e1 o rozehranou partii r\u016fzn\u011b vznikl\u00fdch n\u00e1hod a ryze osobn\u00edch gest.
\n\u00a0
\nJan Kratochvil
\n\u00a0\u00a0
\nHynek Alt (CZ, 1976)
\nwww.altvajd.com\/
\nwww.drdovagallery.com
\n\u00a0
\nFederico D\u00edaz (CZ, 1971)
\nwww.fediaz.com
\n\u00a0
\nMartin Kolarov (CZ, 1993)
\nhttp:\/\/martinkolarov.blogspot.cz
\n\u00a0
\nJi\u0159\u00ed Kovanda (CZ, 1953)
\nwww.gbagency.fr\/en\/45\/Jiri-Kovanda
\n\u00a0
\nAnna Sl\u00e1mov\u00e1 (CZ, 1991)
\nhttp:\/\/annxtrw.tumblr.com
\n\u00a0
\nAd\u00e9la Svobodov\u00e1 (CZ, 1978)
\nhttp:\/\/adela-pauline.net
\n\u00a0
\nJi\u0159\u00ed Th\u00fdn (CZ, 1977)
\nwww.jirithyn.cz
\nwww.huntkastner.com
\n\u00a0
\nAleksandra Vajd (SI, 1971)
\nwww.altvajd.com
\nwww.drdovagallery.com<\/p>","protected":false},"excerpt":{"rendered":"
B\u011b\u017e\u00edm zp\u011bn\u011bnou tmou a jen velmi obt\u00ed\u017en\u011b rozezn\u00e1v\u00e1m jemnosti okoln\u00edch hmot a tvar\u016f. Z\u00e1chytn\u00e9 body se postupn\u011b vytratily pod zvy\u0161uj\u00edc\u00edm se pulsem […]<\/p>\n","protected":false},"author":2,"featured_media":933,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[19,4],"tags":[],"class_list":["post-1135","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\/1135","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=1135"}],"version-history":[{"count":3,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/posts\/1135\/revisions"}],"predecessor-version":[{"id":1138,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/posts\/1135\/revisions\/1138"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/media\/933"}],"wp:attachment":[{"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/media?parent=1135"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/categories?post=1135"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/tags?post=1135"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}