Hauntologick\u00e1 praxe Daniela Vl\u010dka
\nText: Emily McDermott<\/p>\n
\u201eNevid\u011bt cokoli srozumiteln\u00e9ho se dnes stalo normou,\u201c napsala Hito Steyerl v\u00a0textu \u201eMo\u0159e dat: Apofenie a\u00a0(ne)rozpozn\u00e1v\u00e1n\u00ed obrazc\u016f\u201c. \u201eInformace se p\u0159en\u00e1\u0161ej\u00ed jako soubor sign\u00e1l\u016f, je\u017e nelze zachytit lidsk\u00fdmi smysly.\u201c Touha porozum\u011bt sv\u011btu kolem n\u00e1s je v\u0161ak pevn\u011b spjat\u00e1 s\u00a0lidskou povahou: \u010dlov\u011bk tyto sign\u00e1ly chce zachytit, chce dek\u00f3dovat bajty informac\u00ed, je\u017e n\u00e1s obklopuj\u00ed. Navzdory tomu v\u0161ak spole\u010dnosti odprad\u00e1vna d\u016fv\u011b\u0159uj\u00ed v\u011bcem, je\u017e nelze spat\u0159it pouh\u00fdm okem (boh\u016fm, n\u00e1bo\u017eenstv\u00edm, technologi\u00edm) a\u00a0vytv\u00e1\u0159ej\u00ed jejich spekulativn\u00ed obrazy, \u010d\u00edm\u017e svou v\u00edru je\u0161t\u011b upev\u0148uj\u00ed. Pr\u00e1v\u011b toto v\u011b\u010dn\u00e9 pnut\u00ed mezi neviditeln\u00fdm a\u00a0viditeln\u00fdm, digit\u00e1ln\u00edm a\u00a0analogov\u00fdm se Daniel Vl\u010dek sna\u017e\u00ed uchopit ve sv\u00fdch abstraktn\u00edch malb\u00e1ch a\u00a0elektronick\u00fdch zvukov\u00fdch krajin\u00e1ch.
\nV\u00a0posledn\u00edch p\u011bti letech Vl\u010dek vytvo\u0159il \u0159adu d\u011bl na pomez\u00ed malby, zvuku a\u00a0instalace, v\u00a0nich\u017e vyu\u017eil textilie a\u00a0readymade objekty. Tematicky se zjevn\u011b vztahuje ke\u00a0zrodu techno hudby, Fordismu a\u00a0automobilov\u00e9mu pr\u016fmyslu, ale tak\u00e9 k\u00a0u\u017e\u00edv\u00e1n\u00ed psychedelick\u00fdch drog \u2013 a\u010dkoli jsou tyto motivy v\u00fdrazn\u00e9, \u010dasto se ukr\u00fdvaj\u00ed pod vrstvami n\u00e1t\u011br\u016f. Vl\u010dek sv\u00e1 pl\u00e1tna nejprve pokryje akrylem a\u00a0nech\u00e1 je zaschnout. Pot\u00e9 na akryl maluje olejov\u00fdmi barvami a\u00a0do je\u0161t\u011b vlhk\u00e9 malby pomoc\u00ed vinylov\u00e9 desky nebo \u010d\u00e1sti pneumatiky, nap\u0159\u00edklad patn\u00edch lanek \u010di PVC forem, je\u017e mu slou\u017e\u00ed jako \u0161ablony, vyr\u00fdv\u00e1 \u00fazkostliv\u011b pe\u010dliv\u00e9 a\u00a0p\u0159itom instinktivn\u00ed abstraktn\u00ed a\u00a0\u010dasto geometrick\u00e9 vzorce a\u00a0odhaluje tak vrstvu (\u010di vrstvy) malby pod nimi. Vznik\u00e1 tak v\u011bt\u0161inou moarov\u00fd efekt, matouc\u00ed \u010dernob\u00edl\u00e1 konfigurace, n\u011bkdy s\u00a0n\u00e1dechem tmav\u011b nachov\u00e9, modr\u00e9 \u010di zelen\u00e9. Na jejich z\u00e1klad\u011b pak autor vytv\u00e1\u0159\u00ed zvukov\u00e9 krajiny, je\u017e jsou auditivn\u00ed interpretac\u00ed jeho vizu\u00e1ln\u00edch d\u011bl. Soundtracky doprov\u00e1zej\u00ed nejen v\u00fdstavy, ale i\u00a0tento katalog.
\nV\u00a0abstrakc\u00edch Daniela Vl\u010dka m\u016f\u017eeme spat\u0159ovat zv\u00ed\u0159ata, dom\u00e1c\u00ed pot\u0159eby \u010di dokonce fiktivn\u00ed monstra, jedn\u00e1 se v\u0161ak o d\u016fsledek tzv. apofenie, kterou slovn\u00edk Merriam-Webster definuje jako \u201etendenci vn\u00edmat spojen\u00ed \u010di v\u00fdznamov\u00e9 vzorce mezi vz\u00e1jemn\u011b nesouvisej\u00edc\u00edmi \u010di nahodil\u00fdmi v\u011bcmi (p\u0159edm\u011bty \u010di my\u0161lenkami)\u201c. Tento jev zp\u016fsobuje, \u017ee vid\u00edme tv\u00e1\u0159e v\u00a0mrac\u00edch a\u00a0\u017ee existuj\u00ed konspira\u010dn\u00ed teorie: na\u0161e mysl vytv\u00e1\u0159\u00ed n\u011bco zd\u00e1nliv\u011b z\u00a0ni\u010deho. Podobn\u00fd proces prob\u00edh\u00e1 i\u00a0v\u00a0digit\u00e1ln\u00ed sf\u00e9\u0159e, vysv\u011btluje d\u00e1le Steyerl, kdy v\u00fdzkumn\u00edci v\u00a0Googlu pova\u017euj\u00ed \u201efakt, \u017ee [stroje] vytv\u00e1\u0159ej\u00ed vzorce nebo obrazy z\u00a0pouh\u00e9ho \u0161umu, za \u2018incepcionismus\u2019 \u010di \u2018hlubok\u00e9 sn\u011bn\u00ed\u2019\u201d. Jak v\u0161ak Steyerl pokra\u010duje, \u201ctyto entity nejsou zdaleka pouh\u00fdmi halucinacemi. Pokud jsou to sny, lze je interpretovat jako zhu\u0161t\u011bn\u00ed \u010di p\u0159esun v\u00a0r\u00e1mci sou\u010dasn\u00e9ho technologick\u00e9ho uspo\u0159\u00e1d\u00e1n\u00ed.\u201d Synt\u00e9zou t\u011bchto p\u0159\u00edstup\u016f lze Vl\u010dkovo d\u00edlo interpretovat jako destil\u00e1t jeho osobn\u00edho p\u0159\u00edstupu v\u016f\u010di technologii, \u010di sp\u00ed\u0161e z\u00e1pasu s\u00a0n\u00ed. Kdy\u017e do vrstev barvy roboticky vyr\u00fdv\u00e1 linku za linkou, dost\u00e1v\u00e1 se do stavu hlubok\u00e9 meditace \u010di hlubok\u00e9ho sn\u011bn\u00ed a\u00a0vytv\u00e1\u0159\u00ed obrazce pouze na z\u00e1klad\u011b vnit\u0159n\u00edho a\u00a0vn\u011bj\u0161\u00edho \u0161umu. Opakov\u00e1n\u00ed m\u00e1 a\u017e transcendent\u00e1ln\u00ed \u00fa\u010dinky \u2013 mysl opou\u0161t\u00ed t\u011blo a\u00a0jeho kognitivn\u00ed funkce se odpout\u00e1vaj\u00ed od fyzi\u010dna. P\u0159ipou\u0161t\u00ed, \u017ee by jeho malby mohl vytv\u00e1\u0159et robot, ba dokonce \u017ee by mu bionick\u00e1 pa\u017ee mohla ulevit od neust\u00e1l\u00fdch bolest\u00ed ramene. Kdyby se v\u0161ak spojil se strojem, \u010di jednodu\u0161e p\u0159ijal jeho pomoc, p\u0159i\u0161el by o\u00a0to, co ho nejv\u00edce bav\u00ed a\u00a0co z\u00a0jeho d\u00edla d\u011bl\u00e1 unik\u00e1t: o\u00a0lidsk\u00fd ritu\u00e1l tvorby.
\nSteyerl d\u00e1le p\u00ed\u0161e, \u017ee incepcionismus \u201cje dokladem \u00e9ry, kter\u00e1 u\u010d\u00ed chytr\u00e9 telefony rozpozn\u00e1vat ko\u0165\u00e1tka, a\u00a0do v\u00fdrobn\u00edch prost\u0159edk\u016f tak trvale vtiskuje vskutku d\u011bsiv\u00e9 \u017eargony k\u00fd\u010dovit\u00e9 roztomilosti\u201d. Vl\u010dek v\u0161ak ve sv\u00e9 praxi tento pohled obrac\u00ed naruby: v\u00fdrobn\u00ed prost\u0159edky pou\u017e\u00edv\u00e1 v\u00fdhradn\u011b jako takov\u00e9, to jen na\u0161e o\u010di a\u00a0mysl jsou uvykl\u00e9 n\u011b\u010demu jin\u00e9mu. V\u00a0jeho obrazech vid\u00edme p\u0159\u00edrodn\u00ed krajiny \u010di zak\u00f3dovan\u00e1 data, vid\u00edme, jak moarov\u00fd efekt fotoapar\u00e1t\u016f v\u00a0na\u0161ich chytr\u00fdch telefonech zaml\u017euje televize, monitory a\u00a0dal\u0161\u00ed obrazovky, na kter\u00e9 je zam\u00ed\u0159\u00edme \u2013 a\u00a0tyto rozli\u010dn\u00e9 formy apercepce snadno zapadaj\u00ed do konceptu hauntologie filozofa Jacquese Derridy. Hauntologie, je\u017e je odvozena z\u00a0dekonstruktivismu, tedy z\u00a0Derridovy my\u0161lenky, \u017ee p\u016fvod identity \u010di historie lze ur\u010dit a\u017e na z\u00e1klad\u011b souboru d\u0159\u00edve platn\u00fdch podm\u00ednek, p\u0159edpokl\u00e1d\u00e1 \u010dasov\u00e9 a\u00a0ontologick\u00e9 odd\u011blen\u00ed. Vl\u010dkovy malby n\u00e1m soub\u011b\u017en\u011b evokuj\u00ed dojmy z\u00a0doby, kterou pokl\u00e1d\u00e1me za minulost, sou\u010dasnost a\u00a0budoucnost. Ve\u00a0zvuku vyu\u017e\u00edv\u00e1 ter\u00e9nn\u00ed nahr\u00e1vky, d\u0159evn\u00ed syntez\u00e1tory a\u00a0bic\u00ed automaty, a\u00a0i kdy\u017e pracuje s\u00a0digit\u00e1ln\u00edm softwarem, nech\u00e1 vycizelovanou audionahr\u00e1vku proj\u00edt magnetofonov\u00fdm p\u00e1skem, aby doc\u00edlil analogov\u00e9ho prask\u00e1n\u00ed. Sou\u010dasn\u00e9 technologie vrac\u00ed smysl technice p\u0159edchoz\u00edch desetilet\u00ed a\u00a0naopak. Toto odd\u011blen\u00ed je podle kritika Marka Fischera odrazem \u201ckonfrontace elektronick\u00e9 hudby s\u00a0kulturn\u00ed slepou uli\u010dkou: se selh\u00e1n\u00edm budoucnosti\u201d (16) \u2013 jak\u00e9si nostalgie po utopick\u00e9 budoucnosti, je\u017e nikdy neexistovala.
\nVl\u010dkovy v\u0161ezahrnuj\u00edc\u00ed elektronick\u00e9 zvukov\u00e9 krajiny, je\u017e evokuj\u00ed doby d\u00e1vno minul\u00e9, n\u00e1m ve\u00a0v\u00fdstavn\u00edm prostoru je\u0161t\u011b v\u00edce sugeruj\u00ed, \u017ee bychom jeho abstraktn\u00ed malby m\u011bli dek\u00f3dovat. Nenalezneme v\u0161ak ani \u0159\u00e1dky k\u00f3du, ani jedni\u010dky a\u00a0nuly. Vl\u010dkova hauntologick\u00e1 praxe je sp\u00ed\u0161e dokumentem p\u0159er\u00fdvan\u00e9ho \u010dasu, kter\u00fd div\u00e1ka u\u010d\u00ed jeho nov\u00e9mu pojet\u00ed, kdy se minulost, p\u0159\u00edtomnost a\u00a0budoucnost sl\u00e9vaj\u00ed v\u00a0jeden proud a\u00a0sm\u011bsice technologick\u00e9ho pokroku a\u00a0nostalgie se nest\u00e1v\u00e1 trvalou sou\u010d\u00e1st\u00ed v\u00fdrobn\u00edch prost\u0159edk\u016f, ale v\u00fdrobku samotn\u00e9ho.<\/p>\n
Literatura<\/p>\n
Fisher, Mark.<\/em> \u201cWhat is Hauntology\u201d? Film Quarterly, sv.\u00a066, \u010d.\u00a01, 2012, s.\u00a016-24. Hauntologick\u00e1 praxe Daniela Vl\u010dka Text: Emily McDermott \u201eNevid\u011bt cokoli srozumiteln\u00e9ho se dnes stalo normou,\u201c napsala Hito Steyerl v\u00a0textu \u201eMo\u0159e dat: […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[3],"tags":[],"class_list":["post-255","post","type-post","status-publish","format-standard","hentry","category-artists","wpautop"],"acf":[],"_links":{"self":[{"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/posts\/255","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\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/comments?post=255"}],"version-history":[{"count":38,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/posts\/255\/revisions"}],"predecessor-version":[{"id":2037,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/posts\/255\/revisions\/2037"}],"wp:attachment":[{"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/media?parent=255"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/categories?post=255"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/tags?post=255"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nSteyerl, Hito.<\/em> \u201cA\u00a0Sea of Data: Apophenia and Pattern (Mis-)Recognition.\u201d e-flux Journal #72, duben 2016, e-flux.com\/journal\/72\/60480\/a-sea-of-data-apophenia-and-pattern-mis-recognition\/.<\/p>","protected":false},"excerpt":{"rendered":"