Z n\u00e1zvu v\u00fdstavy Jana N\u00e1levky je evidentn\u00ed, \u017ee m\u00e1 obr\u00e1tit pozornost k \u201en\u011b\u010demu\u201c, co ji\u017e bylo vy\u0159\u010deno. \u00a0Um\u011blci p\u0159ijde vhodn\u00e9, abychom za\u0161\u00e1trali v pam\u011bti, jestli v\u00edme, co u\u017e bylo podot\u010deno d\u0159\u00edve. Poprv\u00e9 takto vehementn\u011b poukazuje na p\u0159\u00edtomnost obdobn\u00fdch aspekt\u016f sv\u00e9 pr\u00e1ce a snad i ve\u0159ejn\u011b polemizuje s obsesivn\u00ed rovinou vlastn\u00ed tv\u016fr\u010d\u00ed \u010dinnosti. Jak jsem ji\u017e d\u0159\u00edve podotkla navazuje na programovou \u0159adu N\u00e1levkov\u00fdch kreseb na pap\u00ed\u0159e, v nich\u017e systematicky zkoum\u00e1 fenom\u00e9n \u201estandardizovan\u00e9ho pr\u00e1zdna\u201c. Jedn\u00e1 se o dal\u0161\u00edch p\u011bt set kreseb, jejich\u017e po\u010det a velikost vych\u00e1zej\u00ed z b\u011b\u017en\u011b dostupn\u00e9ho balen\u00ed kancel\u00e1\u0159sk\u00fdch pap\u00edr\u016f. N\u00e1levkovo autorsk\u00e9 zpracov\u00e1n\u00ed oby\u010dejn\u00fdmi modr\u00fdmi propiskami je tak\u00e9 tentokr\u00e1t provedeno se z\u00e1m\u011brem minimalizovat \u00falohu autorsk\u00e9ho rukopisu jako v\u00fdrazov\u00e9ho prost\u0159edku. \u00a0N\u00e1levkova pozn\u00e1mka, \u017ee \u201eexaktn\u00ed \u0159\u00e1d je naru\u0161en lidsk\u00fdm faktorem: a\u010dkoliv jsou v\u0161echny kresby stejn\u00e9, ka\u017ed\u00e1 je sv\u00fdmi drobn\u00fdmi nep\u0159esnostmi origin\u00e1l\u201c je tak zejm\u00e9na konstatov\u00e1n\u00edm pr\u016fvodn\u00edho nedostatku zvolen\u00e9 metody ne\u017e \u017e\u00e1douc\u00edho efektu. U\u017e od roku 2009 Jan N\u00e1levka r\u00fdsuje na b\u00edl\u00e9 pap\u00edry form\u00e1tu A4 tot\u00e9\u017e, co b\u00fdv\u00e1 jejich standardn\u00edm potiskem. Sv\u00fdmi z\u00e1sahy tak pouze posouv\u00e1 pap\u00edr od jednoho typu nezapln\u011bn\u00e9 plochy k jin\u00e9mu typu nezapln\u011bn\u00e9 plochy.\u00a0 Z\u00e1sadn\u00edm v\u00fdstupem mu v tom byla v\u00fdstava R\u00e1da bych toti\u017e i podotkla, \u017ee… v Atriu Pra\u017e\u00e1kova pal\u00e1ce Moravsk\u00e9 galerie v Brn\u011b, kde pokryl st\u011bny od stropu k podlaze zar\u00e1movan\u00fdmi kresbami se \u010dtvercov\u00fdm rastrem b\u011b\u017en\u00e9ho \u010dtvere\u010dkovan\u00e9ho pap\u00edru. V souboru M\u016f\u017eeme ztratit v\u0161echno, jen ne \u010das (2010) pro zm\u011bnu linkoval pouze horizont\u00e1ln\u00ed \u0159\u00e1dky pro \u201ebudouc\u00ed\u201c text. Na listech dvou bal\u00edk\u016f pap\u00edr\u016f pro v\u00fdstavu Jin\u00e9 pokoje, jin\u00e9 hlasy (2011) pak vedle \u010dtvercov\u00e9ho rastru hr\u00e1l roli i nepatrn\u00fd rozd\u00edl rozm\u011bru evropsk\u00e9ho a americk\u00e9ho pap\u00edru. S Jak jsem ji\u017e d\u0159\u00edve podotkla N\u00e1levka postupuje o krok d\u00e1le od artikulace p\u0159ipraven\u00e9 utilit\u00e1rn\u00ed osnovy k jej\u00edmu zapln\u011bn\u00ed. D\u016fsledkem m\u00e1 sice b\u00fdt op\u011bt absence, tentokr\u00e1t ale nikoliv v ambivalenci faktick\u00e1 kresba \/ symbolick\u00e1 nep\u0159\u00edtomnost \u201ez\u00e1znamu\u201c, ale jako absence mo\u017enosti pap\u00edr d\u00e1le (t\u0159eba\u017ee hypoteticky) vyu\u017e\u00edvat. Dosa\u017eeno toho je dodate\u010dn\u00fdm pro\u0161krtnut\u00edm ka\u017ed\u00e9ho pol\u00ed\u010dka \u010dtvercov\u00e9 osnovy. Rovn\u011b\u017e k tomu ov\u0161em N\u00e1levka u\u017e d\u0159\u00edve cosi podotkl(a): v letech 2007-8 podobn\u00fdm zp\u016fsobem eliminoval mo\u017enost dal\u0161\u00edho u\u017eit\u00ed \/ psan\u00ed u t\u0159\u00ed \u201elinkovan\u00fdch\u201c se\u0161it\u016f (Sometimes It Hurts). D\u00edl\u010d\u00edm exkurzem do historie N\u00e1levkov\u00fdch \u201eprac\u00ed na pap\u00ed\u0159e\u201c se \u010dten\u00e1\u0159e sna\u017e\u00edm vpravit do spektra \u00fakon\u016f, k nim\u017e autor odkazuje n\u00e1zvem v\u00fdstavy v Drdova Gallery. Podobn\u011b jako \u010dasov\u011b a fyzicky n\u00e1ro\u010dn\u00e9 vytvo\u0159en\u00ed jedn\u00e9 s\u00e9rie znamen\u00e1 rutinn\u011b opakovat st\u00e1le stejn\u00e9 \u00fakony a pohybov\u00e9 vzorce, m\u00e1 b\u00fdt tak\u00e9 N\u00e1levkova nov\u00e1 v\u00fdstava amplifikovan\u00fdm v\u00fdrazem cykli\u010dnosti \u2013 opakov\u00e1n\u00ed a navracen\u00ed se. Pro kresby Jana N\u00e1levky je obecn\u011b p\u0159\u00edzna\u010dn\u00fd konflikt mezi procesem manu\u00e1ln\u00ed produkce a zam\u011bnitelnost\u00ed v\u00fdsledku za produkt strojov\u00e9 v\u00fdroby. Vedle reflexe samotn\u00e9ho fenom\u00e9nu pracovn\u00ed \u010dinnosti (metodi\u010dnost, systemati\u010dnost, dodr\u017eov\u00e1n\u00ed ur\u010dit\u00fdch pov\u011b\u0159en\u00ed, apod.) m\u016f\u017ee b\u00fdt nahrazov\u00e1n\u00ed v\u00fdkonn\u00e9ho, dokonal\u00e9ho stroje pomalej\u0161\u00edm a chybuj\u00edc\u00edm lidsk\u00fdm jedincem ch\u00e1p\u00e1no p\u0159inejmen\u0161\u00edm ve dvou v\u00fdznamov\u00fdch rovin\u00e1ch: jednak se j\u00edm spl\u0148uje konven\u010dn\u00ed n\u00e1rok na um\u011bleck\u00e9 d\u00edlo jako v\u00fdsledek osobit\u00e9 rukod\u011bln\u00e9 \u010dinnosti, jednak m\u016f\u017ee jako bezesmysln\u00e1 n\u00e1hra\u017eka poukazovat na tenkou hrani\u010dn\u00ed linii mezi um\u011bleckou tvorbou a chorobn\u00fdmi du\u0161evn\u00edmi projevy. Lze spekulovat o tom, \u017ee Jan N\u00e1levka odkazuje k tomuto pomez\u00ed pr\u00e1v\u011b d\u016frazem na nutnost vn\u00edmat novou s\u00e9rii kreseb spole\u010dn\u011b se s\u00e9riemi p\u0159edch\u00e1zej\u00edc\u00edmi. Zapln\u011bn\u00ed tolikr\u00e1t \u201epr\u00e1zdn\u00e9ho\u201c by pak mohlo avizovat figuru opu\u0161t\u011bn\u00ed \u201ebludn\u00e9ho kruhu\u201c grafomanie, jak\u00fdsi posledn\u00ed nutn\u00fd krok k psychick\u00e9mu a fyzick\u00e9mu vysvobozen\u00ed. Jan N\u00e1levka se u\u017e druh\u00e9 desetilet\u00ed zab\u00fdv\u00e1 syst\u00e9my a jejich systematick\u00fdm napl\u0148ov\u00e1n\u00edm. P\u0159i volb\u011b toho kter\u00e9ho syst\u00e9mu se v\u017edy ohl\u00ed\u017e\u00ed na to, jestli jeho vyu\u017eit\u00ed povede ke vzniku redukovan\u00e9 \u201eminimalistick\u00e9\u201c vizuality. Tak\u00e9 v tomto sm\u011bru je zapln\u011bn\u00ed kreseb ze souboru Jak jsem ji\u017e d\u0159\u00edve podotkla \u0159e\u0161en\u00edm posledn\u00ed varianty, kter\u00e1 se pro dan\u00fd syst\u00e9m nab\u00edzela.<\/p>\n
Ji\u0159\u00ed Pt\u00e1\u010dek<\/p>\n
2012\u201213, kresba modrou propiskou na kancel\u00e1\u0159sk\u00e9m pap\u00edru A4, 500 ks<\/p>\n
V\u0161echny listy bal\u00edku b\u00edl\u00fdch kancel\u00e1\u0159sk\u00fdch pap\u00edr\u016f byly ru\u010dn\u011b nalinkov\u00e1ny tak, aby v\u00fdsledek byl co mo\u017en\u00e1 nejm\u00e9n\u011b rozeznateln\u00fd od standardn\u00edch p\u0159edti\u0161t\u011bn\u00fdch \u010dtvere\u010dkovan\u00fdch pap\u00edr\u016f. Pot\u00e9 byly v\u0161echny \u010dtvere\u010dky s\u00edt\u011b \u00fahlop\u0159\u00ed\u010dn\u011b pro\u0161krtnuty dal\u0161\u00ed \u010dtvere\u010dkovanou s\u00edt\u00ed. \u010ctvere\u010dkovan\u00fd pap\u00edr m\u016f\u017eeme st\u00e1le vn\u00edmat jako pr\u00e1zdn\u00fd, \u010dtvere\u010dky jsou jen utilit\u00e1rn\u00ed strukturou determinuj\u00edc\u00ed zp\u016fsob p\u0159\u00edpadn\u00e9ho p\u0159\u00ed\u0161t\u00edho zapln\u011bn\u00ed. P\u0159ekryt\u00edm dal\u0161\u00ed \u010dtvere\u010dkovanou s\u00edt\u00ed v\u00a0\u00fahlu 45\u00b0 do\u0161lo k\u00a0faktick\u00e9mu pro\u0161krtnut\u00ed pr\u00e1zdn\u00e9ho prostoru ka\u017ed\u00e9ho ze \u010dtvere\u010dk\u016f, a\u00a0t\u00edm i\u00a0ke\u00a0znehodnocen\u00ed utilit\u00e1rnosti p\u016fvodn\u00ed s\u00edt\u011b, kterou u\u017e nen\u00ed mo\u017en\u00e9 d\u00e1le zapl\u0148ovat. Teprve te\u010f je pap\u00edr opravdu pr\u00e1zdn\u00fd. Exaktn\u00ed \u0159\u00e1d je naru\u0161en lidsk\u00fdm faktorem: a\u010dkoliv jsou v\u0161echny kresby stejn\u00e9, ka\u017ed\u00e1 je sv\u00fdmi drobn\u00fdmi nep\u0159esnostmi origin\u00e1l. Kresebn\u00fdm materi\u00e1lem se stala modr\u00e1 propiska, nejoby\u010dejn\u011bj\u0161\u00ed kancel\u00e1\u0159sk\u00fd n\u00e1stroj. Kresby byly instalov\u00e1ny v\u00a0prostoru tak, aby \u010dtvere\u010dkovan\u00e1 struktura ka\u017ed\u00e9 z\u00a0nich navazovala na ostatn\u00ed. St\u00e1vaj\u00ed se tedy jedinou \u010dasoprostorovou kresbou, vypl\u0148uj\u00edc\u00ed prostor galerie, otev\u0159enou geometrickou strukturou, kter\u00e1 teoreticky m\u016f\u017ee pokra\u010dovat do nekone\u010dna.<\/p>\n
autorsk\u00fd text<\/p>","protected":false},"excerpt":{"rendered":"
Z n\u00e1zvu v\u00fdstavy Jana N\u00e1levky je evidentn\u00ed, \u017ee m\u00e1 obr\u00e1tit pozornost k \u201en\u011b\u010demu\u201c, co ji\u017e bylo vy\u0159\u010deno. \u00a0Um\u011blci p\u0159ijde vhodn\u00e9, […]<\/p>\n","protected":false},"author":2,"featured_media":977,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[19,4],"tags":[],"class_list":["post-1152","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\/1152","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=1152"}],"version-history":[{"count":5,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/posts\/1152\/revisions"}],"predecessor-version":[{"id":1675,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/posts\/1152\/revisions\/1675"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/media\/977"}],"wp:attachment":[{"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/media?parent=1152"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/categories?post=1152"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/tags?post=1152"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}