{"id":1897,"date":"2020-08-28T08:23:36","date_gmt":"2020-08-28T06:23:36","guid":{"rendered":"https:\/\/drdovagallery.com\/?p=1897"},"modified":"2020-10-02T20:30:46","modified_gmt":"2020-10-02T18:30:46","slug":"unremarkableness","status":"publish","type":"post","link":"https:\/\/drdovagallery.com\/cs\/2020\/08\/28\/unremarkableness\/","title":{"rendered":"Nina Beier, Romana Drdova, Kiki Kogelnik, Ida Szigethy, Kazuna Taguchi, Dino Zrnec"},"content":{"rendered":"

\u201eHodn\u011b jsem se toho nau\u010dila, to ano, ale jen proto, abych pak nabyt\u00e9 pozn\u00e1n\u00ed mohla rozebrat na sou\u010d\u00e1stky, obna\u017eit na kost a vyt\u011b\u017eit z n\u011bj pouze ty koncepty, kter\u00e9 se mi hodily do kr\u00e1mu.\u201c<\/em><\/p>\n

Ji\u017e samotn\u00e9 jm\u00e9no autorky \u201eUm\u011bn\u00ed radosti\u201c \u2013 Goliarda Sapienza \u2013 je p\u0159\u00edslibem moudrosti, kter\u00e1 se v\u0161ak projevuje neuctiv\u011b, bezstarostn\u011b a boh\u00e9msky. Modesta \u2013 na\u0161e hlavn\u00ed hrdinka \u2013 onen p\u0159\u00edslib dodr\u017e\u00ed. Tato d\u016fvtipn\u00e1 \u017eena dos\u00e1hla moudrosti hrani\u010d\u00edc\u00ed se spiritu\u00e1ln\u00edm hrdinstv\u00edm. Sv\u00e9 odhodl\u00e1n\u00ed a touhu emancipovat se od ve\u0161ker\u00fdch spole\u010densk\u00fdch o\u010dek\u00e1v\u00e1n\u00ed a vytvo\u0159it si vlastn\u00ed vzory n\u00e1m p\u0159edkl\u00e1d\u00e1 bez velk\u00e9ho povyku \u2013 jako by bylo nadm\u00edru jasn\u00e9 a samoz\u0159ejm\u00e9, \u017ee bychom m\u011bli n\u00e1sledovat jej\u00edho p\u0159\u00edkladu.<\/p>\n

\u201eNejv\u00edce n\u00e1m \u0161kod\u00ed slova, kter\u00e1 n\u00e1m tradice p\u0159edkl\u00e1d\u00e1 jako absolutn\u00ed, a\u010dkoli maj\u00ed p\u0159ekroucen\u00fd v\u00fdznam. Slovo \u201el\u00e1ska\u201c je le\u017e, tot\u00e9\u017e lze \u0159\u00edci o slov\u011b \u201esmrt\u201c. L\u017ee n\u00e1m mnoho slov, snad v\u011bt\u0161ina. A p\u0159esn\u011b to jsem musela d\u011blat \u2013 zkoumat slova, jako by to byly rostliny \u010di \u017eivo\u010dichov\u00e9\u2026 A potom z nich se\u0161kr\u00e1bnout pl\u00edse\u0148, osvobodit je od n\u00e1nos\u016f stolet\u00e9 tradice, vymyslet si nov\u00e1 slova, a hlavn\u011b ze sv\u00e9ho slovn\u00edku vy\u0159adit a nad\u00e1le nepou\u017e\u00edvat ta, je\u017e jsou nejb\u011b\u017en\u011bj\u0161\u00ed, a tak\u00e9 nejprohnilej\u0161\u00ed.\u201c<\/em><\/p>\n

Modestu doprov\u00e1z\u00edme na cest\u011b za osobn\u00edm osvobozen\u00edm, na jeho\u017e po\u010d\u00e1tku \u010dasto stoj\u00ed smysln\u00e9 \u010di sexu\u00e1ln\u00ed zku\u0161enosti prodchnut\u00e9 takovou lehkost\u00ed, a\u017e se n\u00e1m jej\u00ed touha p\u0159ekra\u010duj\u00edc\u00ed hranice slu\u0161nosti m\u016f\u017ee zd\u00e1t oby\u010dejn\u00e1, ba p\u0159\u00edmo ordin\u00e9rn\u00ed. A\u0165 u\u017e je stoick\u00e1, uv\u00e1\u017eliv\u00e1 \u010di bezohledn\u00e1, obdivujeme ji zpovzd\u00e1l\u00ed, dokud se kolem n\u00e1s nepro\u017eene v intimn\u00edch a poetick\u00fdch momentech s tak p\u0159\u00edmo\u010darou up\u0159\u00edmnost\u00ed, a\u017e to hrani\u010d\u00ed s naivitou. Mazan\u011b man\u00e9vruje vlastn\u00edm \u017eivotem a z\u00edsk\u00e1v\u00e1 v\u00fdhody man\u017eelstv\u00ed: titul, bohatstv\u00ed a kryt\u00ed pro sv\u00e9 eskap\u00e1dy. V\u00fdsledkem je svoboda nevykoupen\u00e1 samotou, pen\u00edze bez pr\u00e1ce a sexu\u00e1ln\u00ed zku\u0161enosti dle libosti.<\/p>\n

\u201eA tak jsem poprv\u00e9 v \u017eivot\u011b milovala a byla milov\u00e1na, fui amata amando, jak se zp\u00edv\u00e1 v \u00e1rii. Bylo to cosi tak vz\u00e1cn\u00e9ho, \u017ee si je\u0161t\u011b te\u010f vybavuji pocit lehkosti, s n\u00edm\u017e jsem r\u00e1no otev\u00edrala o\u010di, pocit jistoty, kter\u00fd doprov\u00e1zel nov\u00e9 dobrodru\u017estv\u00ed zrozen\u00e9 z na\u0161eho objet\u00ed.\u201c<\/em><\/p>\n

Jej\u00ed milenci \u2013 poch\u00e1zej\u00edc\u00ed z\u00a0nejr\u016fzn\u011bj\u0161\u00edch soci\u00e1ln\u00edch prost\u0159ed\u00ed, vyzna\u010duj\u00edc\u00ed se rozmanitou politickou a profesion\u00e1ln\u00ed orientac\u00ed a genderovou pestrost\u00ed \u2013 ji u\u010d\u00ed nejen cel\u00e9 palet\u011b smysln\u00e9 dynamiky, slasti a milostn\u00fdch konstelac\u00ed, ale vyb\u00edr\u00e1 si je tak\u00e9 kv\u016fli jejich potenci\u00e1lu zasv\u011btit ji do radik\u00e1ln\u00edho my\u0161len\u00ed. V prvn\u00edm kroku set\u0159\u00e1s\u00e1 n\u00e1bo\u017eensk\u00e1 p\u0159esv\u011bd\u010den\u00ed, pot\u00e9 si buduje filozofick\u00e9 a politick\u00e9 z\u00e1klady v knihovn\u011b sv\u00e9ho aristokratick\u00e9ho p\u0159\u00edbuzn\u00e9ho, aby se n\u00e1sledn\u011b vyu\u010dila socialismu a anarchismu u rodinn\u00e9ho p\u0159\u00edtele a milence, kr\u00e1tce se setkala s poezi\u00ed, a nakonec se sama stala spisovatelkou a politickou \u0159e\u010dnic\u00ed. Z\u00e1rove\u0148 se Modesta obklopuje rodinou sv\u00fdch vyvolen\u00fdch, na zp\u016fsob kmene, kde se d\u011bti i dosp\u011bl\u00ed mohou svobodn\u011b pohybovat a z\u00edsk\u00e1vat pozn\u00e1n\u00ed, zku\u0161enosti a autonomii.<\/p>\n

\u201eA v\u00a0t\u00e9to p\u0159\u00edtomnosti, kterou jsme sd\u00edleli \u2013 a st\u00e1le sd\u00edl\u00edme \u2013 jste mi p\u0159in\u00e1\u0161eli radost, u\u010dili m\u011b nov\u00fdm my\u0161lenk\u00e1m, pom\u00e1hali mi du\u0161evn\u011b r\u016fst.\u201c<\/em><\/p>\n

Sexualita a touha Modest\u011b pom\u00e1haj\u00ed vytvo\u0159it si vlastn\u00ed utopii a odhalit tak nezbytnost sexu\u00e1ln\u00edho, smysln\u00e9ho a snad i vulg\u00e1rn\u00edho rozm\u011bru utopick\u00e9ho my\u0161len\u00ed. Touha toti\u017e nen\u00ed z tohoto sv\u011bta. Na\u0161e hrdinka \u2013 je\u017e je sv\u011btic\u00ed i vra\u017eedkyn\u00ed \u2013 skrze touhu vstupuje do jin\u00e9ho sv\u011bta, do sv\u011bta, po n\u011bm\u017e sama prahne \u2013 jej\u00ed touha ji v tomto smyslu zasv\u011bcuje do radik\u00e1ln\u011b nezn\u00e1m\u00e9 existence, nebo\u0165 tou\u017eit znamen\u00e1 v\u011b\u0159it v transcendenci sv\u011bta Druh\u00fdch \u2013 abychom citovali Ren\u00e9ho Girarda.<\/p>\n

\u201eL\u00e1ska nen\u00ed z\u00e1zrak, Carlo, je to um\u011bn\u00ed, dovednost, du\u0161evn\u00ed a t\u011blesn\u00e9 cvi\u010den\u00ed mysli a smysl\u016f jako ka\u017ed\u00e9 jin\u00e9. Je to jako hr\u00e1t na hudebn\u00ed n\u00e1stroj, tan\u010dit nebo pracovat se d\u0159evem.\u201c<\/p>\n

\u201eTe\u010f mluv\u00ed\u0161 o sexu.\u201c<\/em><\/p>\n

\u201eA nen\u00ed sex tot\u00e9\u017e co l\u00e1ska? L\u00e1ska a sex jsou dv\u011b strany t\u00e9\u017ee mince. \u010c\u00edm by byla l\u00e1ska bez sexu? Uct\u00edv\u00e1n\u00edm sochy, Madonny. \u010c\u00edm by byl sex bez l\u00e1sky? Pouh\u00fdm st\u0159et\u00e1v\u00e1n\u00edm pohlavn\u00edch org\u00e1n\u016f.\u201c<\/em><\/p>\n

Jestli\u017ee touha nen\u00ed pouh\u00fdm cht\u011bn\u00edm toho, co chceme, ale cht\u011bn\u00edm toho, co chce Druh\u00fd, pro\u010d nen\u00e1sledovat Modestin p\u0159\u00edklad? Mazan\u011b se provdat. B\u00fdt anarchistkou. Bojovat s fa\u0161isty. Vytvo\u0159it si vlastn\u00ed kmen. Na nic se neohl\u00ed\u017eet, mrdat a milovat. Praktikovat um\u011bn\u00ed radosti.<\/p>\n

\u201eRevoluce poh\u00e1dkou! To je vlastn\u011b docela dobr\u00fd n\u00e1pad.\u201c<\/em><\/p>\n

Nina Beier<\/strong> pe\u010dliv\u011b kombinuje materi\u00e1ly a objekty a nech\u00e1v\u00e1 je vstupovat do form\u00e1ln\u00edho a kontextu\u00e1ln\u00edho dialogu, jen\u017e odhaluje kulturn\u00ed k\u00f3dy a kolaps zn\u00e1zorn\u011bn\u00fdch syst\u00e9m\u016f a jejich ekonomick\u00e9 a interperson\u00e1ln\u00ed struktury. Smysln\u011b zaoblen\u00e9 umyvadlo je ucpan\u00e9 ru\u010dn\u011b ubalen\u00fdm doutn\u00edkem. Dom\u00e1c\u00ed p\u0159edm\u011bty, je\u017e p\u0159ekypuj\u00ed odkazy, jako je falick\u00fd vs. zaoblen\u00fd, manu\u00e1ln\u00ed vs. industri\u00e1ln\u00ed, o\u010distn\u00fd vs. zne\u010di\u0161\u0165uj\u00edc\u00ed, tradice vs. modernizace, z\u00edsk\u00e1vaj\u00ed d\u00edky nov\u00e9mu uspo\u0159\u00e1d\u00e1n\u00ed smyslnost a elasticitu v\u00fdznamu. Rukavice upevn\u011bn\u00e1 v gestu zk\u0159\u00ed\u017een\u00fdch prst\u016f, signalizuj\u00edc\u00edm nad\u011bje a p\u0159\u00e1n\u00ed, ale tak\u00e9 klam, je ov\u011b\u0161en\u00e1 komer\u010dn\u00edmi, vojensk\u00fdmi a n\u00e1bo\u017eensk\u00fdmi odznaky. Bro\u017ee a odzn\u00e1\u010dky, je\u017e \u010dasto nos\u00ed spole\u010den\u0161t\u00ed vyd\u011bd\u011bnci, p\u0159edstavuj\u00ed sm\u011bsici spole\u010densk\u00fdch vliv\u016f; rukavice d\u00e1v\u00e1 ok\u00e1zale najevo zd\u00e1nliv\u011b oxymoronickou nutnost v\u011b\u0159it a z\u00e1rove\u0148 pran\u00fd\u0159ovat, aby doc\u00edlila jist\u00e9 subverze. Dv\u011b paruky vyroben\u00e9 z p\u0159\u00edrodn\u00edch vlas\u016f asijsk\u00fdch \u017een jsou vy\u010desan\u00e9 do \u00fa\u010des\u016f popul\u00e1rn\u00edch v z\u00e1padn\u00edm kontextu \u2013 \u00fahledn\u011b upraven\u00e9 a zar\u00e1movan\u00e9 tvo\u0159\u00ed obraz \u017eeny, kter\u00e1 byla, bude a chce b\u00fdt.<\/p>\n

Kazuna Taguchi<\/strong> pracuje s v\u00fdst\u0159i\u017eky, z nich\u017e konstruuje \u017eensk\u00e9 figury dle vlastn\u00edch p\u0159edstav. Vznikne kresba \u010di malba, kterou pak autorka vyfotografuje a pe\u010dliv\u011b manipuluje v temn\u00e9 komo\u0159e, v\u00fdstupem je pak fotografick\u00fd tisk. Kombinace reprodukc\u00ed z r\u016fzn\u00fdch zdroj\u016f, kresebn\u00fdch textur a fotografovan\u00fdch povrch\u016f simuluje realismus, kter\u00fd je v p\u0159\u00edm\u00e9m kontrastu v\u016f\u010di historii portr\u00e9tu, proto\u017ee zn\u00e1zor\u0148uje osobu, kter\u00e1 nikdy neexistovala a nikdy existovat nebude. P\u0159\u00edstup autorky je rafinovan\u00fd a taktn\u00ed: \u017eeny, kter\u00e9 neexistuj\u00ed, sv\u00fdm portr\u00e9tem zosob\u0148uj\u00ed masky \u017een, kter\u00e9 by existovat mohly, a pohlcuj\u00ed n\u00e1s tak p\u0159\u00edzra\u010dn\u00fdm jsoucnem \u017eenstv\u00ed.<\/p>\n

Dino Zrnec<\/strong> pokryl celou m\u00edstnost pe\u010dliv\u011b rozm\u00edst\u011bn\u00fdmi koberci a vytvo\u0159il tak smyslnou a hebkou krajinnou kol\u00e1\u017e. N\u011bkter\u00e9 z koberc\u016f jsou tov\u00e1rn\u00ed zbytky, kter\u00e9 na\u0161ly nov\u00e9 uplatn\u011bn\u00ed. \u00dast\u0159edn\u00ed bod je pak v\u00fdsledkem procesu d\u016fkladn\u00e9 vz\u00e1jemn\u00e9 v\u00fdm\u011bny mezi d\u011bln\u00edky a um\u011blcem, kdy na jedn\u00e9 stran\u011b do\u0161lo k sezn\u00e1men\u00ed s v\u00fdrobn\u00edm procesem a na druh\u00e9 stran\u011b k p\u0159izp\u016fsoben\u00ed zaveden\u00fdch v\u00fdrobn\u00edch metod nezvykl\u00fdm po\u017eadavk\u016fm. D\u00edky oboustrann\u00e9 vazb\u011b splynou dva obrazy v jeden. Stopy jedn\u00e9 strany jemn\u011b dopl\u0148uj\u00ed stranu druhou a ru\u0161\u00ed tak obvyklou logiku rubu a l\u00edce.<\/p>\n

Romana Drdov\u00e1<\/strong> na velkoform\u00e1tov\u00fdch hedv\u00e1bn\u00fdch tisc\u00edch zn\u00e1zor\u0148uje odv\u00e1\u017en\u00e9 sexu\u00e1ln\u00ed motivy, hrav\u00e9 tvary a na\u0161tvan\u00e9 n\u00e1pisy. Vypr\u00e1v\u00ed p\u0159\u00edb\u011bh bolestn\u00e9ho procesu vyrovn\u00e1v\u00e1n\u00ed se s klamem, ztr\u00e1tou a zran\u011bn\u00edmi domn\u011bl\u00e9 l\u00e1sky. V p\u0159evr\u00e1cen\u00e9 dynamice viktimizace se bolest st\u00e1v\u00e1 motorem kreativity. K pozn\u00e1n\u00ed toti\u017e dosp\u00edv\u00e1me nejen d\u00edky laskav\u00fdm a velkorys\u00fdm milenc\u016fm \u2013 pro\u017eitky zlosti, vzteku a n\u00e1sil\u00ed podn\u011bcuj\u00ed n\u00e1\u0161 emocion\u00e1ln\u00ed rozvoj, ve fin\u00e1le n\u00e1m p\u0159in\u00e1\u0161ej\u00ed katarzi a otev\u00edraj\u00ed dve\u0159e nov\u00e9 l\u00e1sce.<\/p>\n

Ida Szigethy<\/strong> za\u010dala malovat na za\u010d\u00e1tku \u0161edes\u00e1t\u00fdch let jako samouk. Po smrti sv\u00e9 matky se vydala na cestu sebepozn\u00e1n\u00ed prost\u0159ednictv\u00edm mal\u00ed\u0159sk\u00e9ho cyklu v\u011bnovan\u00e9ho rekonfiguraci vlastn\u00ed \u017eensk\u00e9 identity. Sou\u010d\u00e1st\u00ed cyklu je i \u201eRovnice s\u00a0dv\u011bma vanami\u201c. Na pohled naivn\u00ed malba zn\u00e1zor\u0148uje nahou \u017eenu le\u017e\u00edc\u00ed v\u00a0posteli. R\u00e1muje ji dekorativn\u00ed interi\u00e9r s bohat\u00fdmi vzory a detaily, v\u010detn\u011b neobvykl\u00e9 koupelny, kde je nikoli jedna, ale rovnou dv\u011b vany. Vzbuzuje tak dojem absence \u010di o\u010dek\u00e1v\u00e1n\u00ed druh\u00e9ho a z\u00e1rove\u0148 je projekc\u00ed sebev\u011bdom\u00e9 sob\u011bsta\u010dnosti.<\/p>\n

Kiki Kogelnik<\/strong> ukazuje eroti\u010dnost zd\u00e1nliv\u011b zbavenou ve\u0161ker\u00fdch emoc\u00ed \u2013 t\u011bla se st\u00e1vaj\u00ed sou\u010d\u00e1stkami a vedou n\u00e1s k\u00a0zamy\u0161len\u00ed nad mechanismy t\u011blesn\u00e9 smyslnosti, a snad tak\u00e9 sexuality stroj\u016f. Um\u011blkyn\u011b, kter\u00e1 se moc nezaj\u00edmala o to, co d\u011blaj\u00ed jej\u00ed sou\u010dasn\u00edci a co je zrovna v m\u00f3d\u011b, s radost\u00ed rozv\u00edjela vlastn\u00ed ikonografii zalo\u017eenou na v\u00fdrazn\u00e9 barevnosti a hrav\u011b se zam\u00fd\u0161lela nad l\u00e1skou, \u017eivotem a sexualitou v dob\u011b, kdy u\u017e na\u0161e t\u011bla evidentn\u011b ovl\u00e1d\u00e1 techn\u00e9.<\/p>\n

in the beginning<\/strong>
\n1<\/strong> Nina Beier
\nFingers Crossed Crossed Fingers, 201<\/em>9<\/p>\n

in the living room<\/strong>
\n2<\/strong> Romana Drdova
\nI am not humiliated. Do not be afraid you will not be put to shame. Do not fear disgrace You will no longer remember the shame and the sorrows, 2020<\/em>
\n3<\/strong> Nina Beier
\nPlug, 2019
\nPlug, 2020
\nPlug, 2019
\nPlug, 2020<\/em>
\n4<\/strong> Kiki Kogelnik
\nUntitled (Female Figure), 1964
\nUntitled (Still Life with Body Parts), 1964
\nUntitled (Still Life with Hands), 1964<\/em>
\n5<\/strong> Kazuna Taguchi
\nthe eyes of Eurydice, 2019<\/em><\/p>\n

in the bedroom<\/strong>
\n6<\/strong> Nina Beier
\nWarm Lowlights Swept Bang, 2015
\nLong Layered Shag, 2015<\/em>
\n7<\/strong> Dino Zrnec
\nUntitled, 2019<\/em>
\n8<\/strong> Ida Szigethy
\nEquation with two bathtubs, 1971<\/em>
\n\"\"
\n<\/p>","protected":false},"excerpt":{"rendered":"

\u201eHodn\u011b jsem se toho nau\u010dila, to ano, ale jen proto, abych pak nabyt\u00e9 pozn\u00e1n\u00ed mohla rozebrat na sou\u010d\u00e1stky, obna\u017eit na […]<\/p>\n","protected":false},"author":2,"featured_media":1896,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[19,4],"tags":[],"class_list":["post-1897","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\/1897","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=1897"}],"version-history":[{"count":7,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/posts\/1897\/revisions"}],"predecessor-version":[{"id":1946,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/posts\/1897\/revisions\/1946"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/media\/1896"}],"wp:attachment":[{"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/media?parent=1897"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/categories?post=1897"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/tags?post=1897"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}