<\/p>\n
Kdy\u017e n\u011bkdo \u0159\u00edk\u00e1 \u201ej\u00e1\u201c, ve skute\u010dnosti t\u00edm mysl\u00ed \u201emy\u201c. Kdysi jsem \u010detla o\u00a0principu neklidu, kter\u00fd prostupuje cel\u00fdmi d\u011bjinami lidstva. A\u0165 se ohl\u00e9dnete kamkoli, v\u0161ude je pohyb. Ve\u00a0dne v\u00a0noci. Tato rozt\u011bkanost oded\u00e1vna naru\u0161uje ve\u0161ker\u00fd \u0159\u00e1d a\u00a0linie. V\u00a0nov\u00fdch d\u00edlech Sebastiana Stumpfa, v\u00a0cyklu analogov\u00fdch fotografi\u00ed (Fences) a\u00a0videoprojekci (River), hraj\u00ed pohyb, linie a\u00a0\u0159\u00e1d \u00fast\u0159edn\u00ed roli.<\/p>\n V\u00a0m\u011bstsk\u00e9m prost\u0159ed\u00ed se nach\u00e1z\u00ed \u010dlov\u011bk. M\u011bsto je obrovsk\u00e9 a\u00a0apokalyptick\u00e9 \u2013 zch\u00e1tral\u00e1 parkovi\u0161t\u011b, modern\u00ed reziden\u010dn\u00ed architektura, palmy a\u00a0spousta plot\u016f poukazuj\u00ed na extr\u00e9my eskapismu a\u00a0solipsismu v\u00a0p\u0159\u00edrod\u011b, kultu\u0159e i\u00a0politice. Los Angeles je m\u011bstskou dialektikou par excellence, jak p\u00ed\u0161e Quinn Latimer v\u00a0eseji Kalifornsk\u00e9 sn\u011bn\u00ed. Ze\u00a0Stumpfova reperto\u00e1ru motiv\u016f lze rozpoznat schematickou postavu oto\u010denou z\u00e1dy k\u00a0fotoapar\u00e1tu. Kdy\u017e stoj\u00edm p\u0159ed fotografiemi, uv\u011bdom\u00edm si, \u017ee zauj\u00edm\u00e1m stejnou pozici \u2013 stoj\u00edm zp\u0159\u00edma, s\u00a0rukama sv\u011b\u0161en\u00fdma pod\u00e9l bok\u016f. Proto\u017ee hled\u00edme stejn\u00fdm sm\u011brem, uzav\u00edr\u00e1me spolu na jistou dobu jak\u00fdsi pakt. Zat\u00edmco v\u0161ak jeho postavy stoj\u00ed na plotech, j\u00e1 stoj\u00edm ob\u011bma nohama na zemi. M\u00e1 perspektiva tedy z\u016fst\u00e1v\u00e1 jin\u00e1, stejn\u011b jako perspektiva subjektu za kamerou. \u00da\u010dastn\u00edm se situace, ale nebyla jsem tam. Z\u016fst\u00e1v\u00e1m tedy pouh\u00fdm n\u00e1hradn\u00edkem, sv\u011bdkem a voyeurem: m\u016fj pohled putuje m\u011bstem n\u011bkoho jin\u00e9ho, apar\u00e1tem n\u011bkoho jin\u00e9ho, hlavou n\u011bkoho jin\u00e9ho.<\/p>\n Rok 1961: ve\u00a0St\u00e4dtisches Museum Wiesbaden namaloval Nam June Paik hlavou pruh na roli pap\u00edru na podlaze. Nen\u00ed mu vid\u011bt do tv\u00e1\u0159e \u2013 le\u017e\u00ed na konci zvln\u011bn\u00e9ho pap\u00edru na b\u0159i\u0161e. Vedle sebe m\u00e1 plastov\u00fd kybl\u00edk pot\u0159\u00edsn\u011bn\u00fd barvou. Performance z\u0159ejm\u011b pr\u00e1v\u011b skon\u010dila.<\/p>\n Slavn\u00e1 performance Zen for Head odm\u00edt\u00e1 mal\u00ed\u0159sk\u00e9 pl\u00e1tno: v\u00a0publiku bylo dost lid\u00ed, kte\u0159\u00ed se stali sv\u011bdky ud\u00e1losti. Podobn\u00e9ho sv\u011bdka Paik n\u00e1sledn\u011b p\u0159evt\u011blil do \u010dernob\u00edl\u00e9 fotografie. Vid\u00edme t\u011blo um\u011blce na podlaze, tv\u00e1\u0159 m\u00e1 zakrytou, publikum nikde. Fotografie tak chce div\u00e1k\u016fm jasn\u011b uk\u00e1zat (a\u0165 u\u017e se \u00fa\u010dastnili, nebo ne), \u017ee u\u00a0toho nebyli. Fotografie akci realizuje retrospektivn\u011b a\u00a0z\u00e1rove\u0148 ji umo\u017e\u0148uje i\u00a0do budoucna. Zen for Hand poka\u017ed\u00e9 za\u010d\u00edn\u00e1 znovu: \u201e\u2026 u\u017e zase se st\u00e1v\u00e1te sv\u011bdkem toho, \u017ee tam nejste. \u2026 Mechanismus p\u0159evypr\u00e1v\u011bn\u00ed\u2026 se m\u016f\u017ee st\u00e1t\u2026 dal\u0161\u00ed v\u00fdzvou.\u201c[1]<\/p>\n Sebastian Stumpf neno\u0159\u00ed hlavu do barvy, ale zas a\u00a0znova do modr\u00e9ho pr\u00e1zdna kalifornsk\u00e9 oblohy. Jeho akc\u00edm nejprve nikdo nep\u0159ihl\u00ed\u017e\u00ed. Zn\u00ed to jako denn\u00ed sn\u011bn\u00ed a\u00a0Sisyfos, jako \u201enicned\u011bl\u00e1n\u00ed\u201c. Ot\u00e1zkou z\u016fst\u00e1v\u00e1, jestli chce postava plot p\u0159ekonat. Nejist\u00e9 je i\u00a0to, na co se postava ve skute\u010dnosti d\u00edv\u00e1. Opakov\u00e1n\u00edm se zd\u016fraz\u0148uje motiv paradoxnosti. Jakmile postava zmiz\u00ed v\u00a0topografii Los Angeles, pln\u00e9 kontrast\u016f, objev\u00ed se v\u00a0m\u00fdch my\u0161lenk\u00e1ch. Sta\u010d\u00ed chv\u00edle\u00a0a u\u017e na ni nelze zapomenout, jej\u00ed \u0159\u00e1d m\u00e1 n\u00e1hle navrch. Objev\u00edm ji\u00a0v\u00a0rozcuchan\u00e9 palm\u011b a\u00a0v\u00a0jej\u00ed vlastn\u00ed vertikalit\u011b. Je tak do o\u010d\u00ed bij\u00edc\u00ed, a\u017e je docela nen\u00e1padn\u00e1. Robert Musil jednou v\u00a0nar\u00e1\u017ece na nen\u00e1padnou n\u00e1silnost mocensk\u00fdch vztah\u016f prohl\u00e1sil, \u017ee na sv\u011bt\u011b nen\u00ed nic neviditeln\u011bj\u0161\u00edho ne\u017e monumenty.<\/p>\n Osam\u011bl\u00e1 m\u011bstsk\u00e1 postava se opakovan\u011b objevuje ve\u00a0st\u0159edu obrazu, do zna\u010dn\u00e9 m\u00edry viditeln\u011b neviditeln\u00e1. Proto\u017ee nem\u00e1 tv\u00e1\u0159, nem\u00e1 ani jm\u00e9no. A\u00a0co nem\u00e1 jm\u00e9no, to nelze p\u0159elo\u017eit, jen spo\u010d\u00edtat. Ve\u00a0videu River nap\u0159\u00edklad vodn\u00edm kan\u00e1lem proplouv\u00e1 t\u011blo: n\u00e1hle, p\u0159ekvapiv\u011b, opakovan\u011b, je mal\u00e9 a\u00a0pohybuje se paraleln\u011b s\u00a0auty na d\u00e1lnici nad n\u00edm. Akce se opakuje ve smy\u010dce a\u00a0st\u00e1v\u00e1 se p\u0159edv\u00eddatelnou, po\u010ditatelnou, vypr\u00e1vitelnou. Schemati\u010dnost a viditelnost, kter\u00e1 je zde zkoum\u00e1na, prom\u011b\u0148uje postavu v\u00a0utopick\u00e9ho z\u00e1stupce v\u0161eho, co se kdy t\u00fdkalo vodn\u00edch cest a\u00a0plot\u016f. Jak p\u00ed\u0161e Adorno, rozj\u00edm\u00e1n\u00edm nad univerz\u00e1ln\u00edm, \u010di dokonce sm\u00ed\u0159liv\u00fdm jazykem abstrakce, kter\u00fd by mohl p\u0159ekonat na\u0161i empirickou situovanost a vytvo\u0159it ur\u010ditou komunitu, se m\u011bl um\u011blec st\u00e1t z\u00e1stupcem \u201etot\u00e1ln\u00edho subjektu\u201c. Mohli bychom tvrdit, \u017ee se d\u00edla Sebastiana Stumpfa, se svou zd\u00e1nliv\u011b jednoduchou kompozic\u00ed, dot\u00fdkaj\u00ed oblasti p\u0159\u00e1telstv\u00ed a\u00a0nep\u0159\u00e1telstv\u00ed, eticko-politick\u00fdch koncept\u016f, z\u00a0nich\u017e ka\u017ed\u00fd vyvol\u00e1v\u00e1 siln\u00e9 afekty. J\u00e1 jsem v\u0161ak vid\u011bla jedin\u00e9 t\u011blo balancuj\u00edc\u00ed na plot\u011b a\u00a0nehybn\u011b un\u00e1\u0161en\u00e9 vodn\u00edm kan\u00e1lem. Jde o\u00a0v\u011bdom\u011b naivn\u00ed v\u00fdchodisko. D\u00edla se toti\u017e nezab\u00fdvaj\u00ed univerz\u00e1ln\u00edm \u010di spekulativn\u00edm tvrzen\u00edm, jako sp\u00ed\u0161e subjektivn\u00edm, empirick\u00fdm, a\u00a0n\u011bkdy paradoxn\u00edm uji\u0161t\u011bn\u00edm o\u00a0vlastn\u00ed existenci. Navzdory opakovan\u00e9mu uspo\u0159\u00e1d\u00e1n\u00ed t\u011bl, prostor\u016f a\u00a0lini\u00ed zde vzhledem ke konkr\u00e9tn\u00ed osob\u011b nem\u016f\u017ee b\u00fdt \u0159e\u010d o\u00a0\u010dist\u011b abstraktn\u00edm rozm\u011bru. Monumenty jsou dnes podrobov\u00e1ny p\u0159\u00edli\u0161 d\u016fkladn\u00e9mu zkoum\u00e1n\u00ed. Um\u011blec hovo\u0159\u00ed s\u00e1m za\u00a0sebe.<\/p>\n S\u00a0motivem s\u00f3la a\u00a0opakov\u00e1n\u00ed pak Fences a\u00a0River zauj\u00edmaj\u00ed kl\u00ed\u010dov\u00e9 pozice postmodern\u00edho um\u011bn\u00ed performance. Dot\u00fdkaj\u00ed se t\u00e9mat sv\u011bdectv\u00ed a dohledu. V\u00a0j\u00e1dru performance v\u0161ak nalezneme ne\u00fastupn\u00e9 hled\u00e1n\u00ed \u010dehosi p\u0159\u00edm\u00e9ho, zakou\u0161en\u00ed sv\u011bta \u201etakov\u00e9ho, jak\u00fd je\u201c, a\u00a0nikoli takov\u00e9ho, \u201ejak\u00fdm se jev\u00ed\u201c. To pak funguje nejl\u00e9pe, kdy\u017e se nem\u011bn\u00ed jist\u00e9 parametry \u0159\u00e1du: proto se postavy Sebastiana Stumpfa v\u017edy vyskytuj\u00ed osamocen\u011b. Jeho akce vznikaj\u00ed bez lidsk\u00fdch sv\u011bdk\u016f na m\u00edst\u011b. Za t\u00edmto rozhodnut\u00edm je uv\u011bdom\u011bn\u00ed, \u017ee nelze proniknout do sam\u00e9 podstaty sv\u011bta, a\u00a0\u017ee na\u0161e p\u0159edstavy o\u00a0skute\u010dnosti vznikaj\u00ed skrze p\u0159eklad, jazyk a\u00a0obrazy. Proto se akce st\u00e1vaj\u00ed viditeln\u00fdmi a\u00a0p\u0159ijateln\u00fdmi skrze dokumenty z\u00a0m\u00edsta \u010dinu (fotografie, video). Kdy\u017e p\u0159istoup\u00edm k\u00a0obraz\u016fm bl\u00ed\u017e, uvid\u00edm na ka\u017ed\u00e9m z\u00a0nich kabel, filigr\u00e1nskou linii, kter\u00e1 odkazuje ke\u00a0zp\u016fsobu, jak obrazy vznikaly. Postava na plot\u011b sev\u0159e ruku v\u00a0p\u011bst a\u00a0zm\u00e1\u010dkne spou\u0161\u0165, aby z\u00e1v\u011brka zachytila obraz v\u00a0pravou chv\u00edli. Fotografie toti\u017e vznikla, ani\u017e by n\u011bkdo st\u00e1l za kamerou \u2013 Zen for Hand. Na\u00a0analogov\u011b zv\u011bt\u0161en\u00e9 fotografii pak um\u011blec spat\u0159\u00ed s\u00e1m sebe, jak pohl\u00ed\u017e\u00ed do apokalyptick\u00e9 m\u011bstsk\u00e9 krajiny \u201epro nic za nic\u201c. \u201eNem\u016f\u017ee existovat komunita t\u011bch, kte\u0159\u00ed tam jsou,\u201c napsala skupina Tiqqun. Fotografie akci pod\u00e1v\u00e1 retroaktivn\u011b, a\u00a0rovn\u011b\u017e v\u00a0budoucnosti, ani\u017e bychom tam byli, se m\u016f\u017eeme na krati\u010dk\u00fd prodlou\u017een\u00fd okam\u017eik pod\u00edvat do n\u011b\u010d\u00ed hlavy \u010di na jist\u00e9 Los\u00a0Angeles. Tento \u0159\u00e1d nen\u00ed t\u0159eba vysv\u011btlovat: s\u00e1m je vysv\u011btlen\u00edm.<\/p>\n Na chv\u00edli jsem se zatoulala v\u00a0my\u0161lenk\u00e1ch. P\u0159e\u0161l\u00e1pla jsem z\u00a0prav\u00e9 nohy na levou a\u00a0zp\u00e1tky. Takhle nespadnu, nebo jsem si to alespo\u0148 myslela. Kdy\u017e tam nikdo nebyl, vyno\u0159\u00ed se zakr\u00e1tko \u010di zanedlouho p\u0159\u00edb\u011bhy o\u00a0mizen\u00ed. Ale na fotografi\u00edch se p\u0159\u00edb\u011bhy zastavuj\u00ed ve chv\u00edli, kdy jsou vyfotografov\u00e1ny. Tyto obrazy za\u010d\u00ednaj\u00ed v\u017edy nanovo. Ploty nikdy neskon\u010d\u00ed. Za\u0161la jsem snad p\u0159\u00edli\u0161 daleko? Myslela jsem si, \u017ee se z\u00a0p\u0159\u00edb\u011bh\u016f, kter\u00e9 tyto fotografie vypr\u00e1v\u00ed, a\u010d jsou neviditeln\u00e9, dozv\u00edm n\u011bco v\u00edc. Zmocnil se n\u011bkoho strach? D\u00edval se n\u011bkdo z k\u0159ov\u00ed? Zahl\u00e9dl n\u011bkdo pohyb, zaslechl n\u011bkdo zvuk, zapra\u0161t\u011bly p\u0159i skoku kosti? Linda Bostr\u00f6m Knausg\u00e5rd v\u00a0rom\u00e1nu V\u00edtejte v\u00a0Americe p\u00ed\u0161e: \u201eAle to nikdo nechce. Nikdo nechce, aby se mu splnila p\u0159\u00e1n\u00ed. To by naru\u0161ilo \u0159\u00e1d: \u0159\u00e1d, po kter\u00e9m ve\u00a0skute\u010dnosti tou\u017e\u00edme. Chceme b\u00fdt zra\u0148ov\u00e1ni a\u00a0chceme bojovat o\u00a0p\u0159e\u017eit\u00ed.\u201c<\/p>\n Lina Leonore Morawetz, 2017<\/p>\n [1] Rebecca Schneider, \u201cSolo, Solo, Solo,\u201c in: After Criticism: New Responses to Art and Performance, ed. G. Butt, 2005.<\/p>","protected":false},"excerpt":{"rendered":" Kdy\u017e n\u011bkdo \u0159\u00edk\u00e1 \u201ej\u00e1\u201c, ve skute\u010dnosti t\u00edm mysl\u00ed \u201emy\u201c. \u2013 Tiqqun, \u00davod do ob\u010dansk\u00e9 v\u00e1lky Kdysi jsem \u010detla o\u00a0principu neklidu, […]<\/p>\n","protected":false},"author":1,"featured_media":641,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[19,4],"tags":[],"class_list":["post-297","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\/297","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=297"}],"version-history":[{"count":17,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/posts\/297\/revisions"}],"predecessor-version":[{"id":1795,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/posts\/297\/revisions\/1795"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/media\/641"}],"wp:attachment":[{"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/media?parent=297"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/categories?post=297"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/tags?post=297"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n\u2013 Tiqqun<\/em>, \u00davod do ob\u010dansk\u00e9 v\u00e1lky<\/p>\n