D\u00edry v dlan\u00edch Hynka Alta a Aleksandry Vajd<\/p>\n
\u010cech Hynek Alt a Slovinka Aleksandra Vajd demonstruj\u00ed z\u00e1ludnost a k\u0159ehkost vn\u00edm\u00e1n\u00ed fotografick\u00fd obrazu. Jejich hry s optick\u00fdmi klamy a iluzemi jsou sou\u010d\u00e1st\u00ed vrstevnat\u00fdch zkoum\u00e1n\u00ed na\u0161eho vztahu k fotografick\u00e9mu m\u00e9diu.<\/p>\n
Jejich spolupr\u00e1ci lze zp\u011btn\u011b stopovat a\u017e do roku 2001, kdy vytvo\u0159ili prvn\u00ed sn\u00edmky portr\u00e9tn\u00edho souboru Manwomanunfinished. Navz\u00e1jem se pak fotografovali je\u0161t\u011b osm let, skl\u00e1dali dvojice mu\u017e \/ \u017eena a prezentovali nejen jako osobn\u00ed dialog, ale tak\u00e9 jako \u0161irok\u00fd rejst\u0159\u00edk v\u00fdrazov\u00fdch a emocion\u00e1ln\u00edch synergi\u00ed. Dnes Manwomanunfinished m\u016f\u017eeme vn\u00edmat jako uzav\u0159enou etapu jejich tv\u016fr\u010d\u00ed spolupr\u00e1ce. Sehr\u00e1l ale kl\u00ed\u010dovou roli p\u0159i definov\u00e1n\u00ed t\u00e9matick\u00fdch okruh\u016f a uv\u011bdomov\u00e1n\u00ed potenci\u00e1lu jejich tv\u016fr\u010d\u00edch metod. Z jedn\u00e9 strany vzato to bylo poprv\u00e9, kdy Alt s Vajd upozornili na v\u00fdznam sebereflexivity v jejich pr\u00e1ci. Jako kolegov\u00e9 a man\u017eel\u00e9 se k problematice profesn\u00ed a partnersk\u00e9 koexistence, p\u0159ekra\u010duj\u00edc\u00ed a zast\u0159e\u0161uj\u00edc\u00ed individu\u00e1ln\u00ed hlediska, pr\u016fb\u011b\u017en\u011b vracej\u00ed dodnes, a\u0165 ji\u017e systematick\u00fdm nakl\u00e1d\u00e1n\u00edm s vlastn\u00edmi podobiznami, tak v z\u00e1stupn\u00e9 rovin\u011b fotografov\u00e1n\u00edm p\u00e1rov\u00fdch p\u0159edm\u011bt\u016f (nap\u0159. stereo reproduktor\u016f). Na druh\u00e9 stran\u011b skrze Manwomanunfinished z\u00edskali dostatek zku\u0161enost\u00ed s vyu\u017e\u00edv\u00e1n\u00edm fotografick\u00e9ho archivu a s v\u00fdznamovou pru\u017enost\u00ed fotografi\u00ed v jejich odli\u0161n\u00fdch sestav\u00e1ch. <\/p>\n
Zlom v jejich tvorb\u011b nastal p\u0159ibli\u017en\u011b v polovin\u011b minul\u00e9 dek\u00e1dy, kdy obr\u00e1tili pozornost k problematice recepce fotografie. Uv\u011bdomili si, nakolik je na\u0161e vn\u00edm\u00e1n\u00ed fotografie podm\u00edn\u011bno p\u0159edj\u00edm\u00e1n\u00edm a konvencemi. Za modelov\u00fd p\u0159\u00edklad lze vz\u00edt soubor Nothing Is Beyond (2009), v n\u011bm\u017e auto\u0159i vykryt\u00edm plochy kolem okenn\u00edch tabulek fotografovan\u00fdch v noci dos\u00e1hli t\u00e9m\u011b\u0159 nulov\u00e9 pravd\u011bpodobnosti, \u017ee by div\u00e1ci ztoto\u017enili sn\u00edmky se z\u00e1znamem smyslov\u00e9ho jevu. Konven\u010dn\u00edho sch\u00e9matu fotografie jako \u201eokna do sv\u011bta\u201c sice dr\u017eeli doslovn\u011b, div\u00e1k\u016fm ale p\u0159esto p\u0159edlo\u017eili abstrakci, kter\u00e1 se mohla jevit podez\u0159elou pouze t\u00edm, \u017ee v\u00fdstava \u010dernob\u00edl\u00fdch \u201esuprematistick\u00fdch\u201c kompozic byla ohl\u00e1\u0161ena jako v\u00fdstava fotografi\u00ed.<\/p>\n
V pr\u00e1ci Hynka Alta a Alexandry Vajd opakovan\u011b nar\u00e1\u017e\u00edme na subverzivn\u00ed, t\u00e9m\u011b\u0159 z\u00e1ke\u0159n\u00e9 zach\u00e1zen\u00ed s vid\u011bn\u00edm a \u00fasudkem recipienta. Soubor Hole in the Palm (2010) je z\u010d\u00e1sti postaven na matouc\u00edch optick\u00fdch h\u0159\u00ed\u010dk\u00e1ch p\u0159ipom\u00ednaj\u00edc\u00edch zjednodu\u0161en\u00e9, fotografick\u00e9 verze d\u011bl M. C. Eschera \u010di v\u011bdeck\u00e9 vizualizace paradox\u016f smyslov\u00e9ho vn\u00edm\u00e1n\u00ed. O rok nov\u011bj\u0161\u00ed fotografie pro soubor You Can\u00b4t Change the Weather zase vznikly jako pokus vytvo\u0159it v improvizovan\u00fdch podm\u00ednk\u00e1ch galerie co nejv\u011brohodn\u011bj\u0161\u00ed n\u00e1podoby meteorologick\u00fdch jev\u016f. Smyslem iluzionismu ov\u0161em nen\u00ed oklamat pozorovatele spektakul\u00e1rn\u00edm efektem, n\u00fdbr\u017e klam prezentovat jako ned\u00edlnou sou\u010d\u00e1st konstrukce fotografick\u00e9 reality, kter\u00e1 v\u017edy utv\u00e1\u0159\u00ed z\u00e1kladn\u00ed nap\u011bt\u00ed mezi reprezentac\u00ed a jej\u00edm existuj\u00edc\u00edm p\u0159edobrazem. Alt a Vajd n\u00e1s vedou ke zcitliv\u011bn\u00ed ke konkr\u00e9tn\u00ed fotografii a ke sm\u00ed\u0159en\u00ed se zr\u00e1dnou povahou vn\u00edm\u00e1n\u00ed, kognitivn\u00edch proces\u016f a n\u00e1sledn\u00e9 aplikace poznatk\u016f. Prezentuj\u00ed fotografii jako m\u00e9dium, u n\u011bj\u017e roli hraje nejen reprezentovan\u00e9, ale rovn\u011b\u017e vlastnosti a limity technologick\u00e9ho prost\u0159edku, konkr\u00e9tn\u00ed podm\u00ednky a kontexty, a v neposledn\u00ed \u0159ad\u011b tak\u00e9 osoba fotografa, kter\u00e1 s mo\u017enosti, limity, podm\u00ednkami a souvislostmi performativn\u011b zach\u00e1z\u00ed. \u2028Z\u00e1b\u011br Hynka Alta a Aleksandry Vajd se st\u00e1le v\u00edce rozprost\u00edr\u00e1 a jejich posledn\u00ed ve\u0159ejn\u00e9 v\u00fdstupy vykazuj\u00ed znaky synt\u00e9zy, v n\u00ed\u017e se objektivn\u00ed relace fotografovan\u00e9ho p\u0159edm\u011btu, fotografuj\u00edc\u00edch osobnost\u00ed a kamery staly komponenty komplexn\u00edho \u00fatvaru, uvnit\u0159 kter\u00e9ho lze sledovat linie filosofick\u00e9ho, psychologick\u00e9ho i \u010dist\u011b senzualistick\u00e9ho p\u0159\u00edstupu, ani\u017e by p\u0159itom jedna byla kladena nad ostatn\u00ed. Alt a Vajd pozorovatele vtahuj\u00ed ho do hutn\u00fdch environment\u00e1ln\u00edch situac\u00ed, v nich\u017e opou\u0161t\u011bj\u00ed druh\u00fd rozm\u011br ve prosp\u011bch reverzn\u00ed transkripce budov\u00e1n\u00ed prostoru v obraze skute\u010dn\u00fdmi trojrozm\u011brn\u00fdmi objekty; sonduj\u00ed na\u0161e ch\u00e1p\u00e1n\u00ed sv\u011btla a \u010dasu ve fotografii; p\u0159eskupuj\u00ed archivy, ani\u017e by mnohdy referovali o n\u011b\u010dem jin\u00e9m ne\u017e o neodkryt\u00e9 mase nahromad\u011bn\u00fdch sn\u00edmk\u016f; odkazuj\u00ed k sob\u011b jako k akt\u00e9r\u016fm t\u011bchto situac\u00ed… Nad\u00e1le ov\u0161em kladou sv\u00e9 subverzivn\u00ed pasti a fotografii p\u0159edstavuj\u00ed jako decentralizovanou s\u00ed\u0165 s rhizomatick\u00fdmi spojen\u00edmi.<\/p>\n
Ji\u0159\u00ed Pt\u00e1\u010dek (Eikon 84\u201385\/2014)
\n<\/p>","protected":false},"excerpt":{"rendered":"
D\u00edry v dlan\u00edch Hynka Alta a Aleksandry Vajd \u010cech Hynek Alt a Slovinka Aleksandra Vajd demonstruj\u00ed z\u00e1ludnost a k\u0159ehkost vn\u00edm\u00e1n\u00ed fotografick\u00fd obrazu. […]<\/p>\n","protected":false},"author":2,"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-512","post","type-post","status-publish","format-standard","hentry","category-artists","wpautop"],"acf":[],"_links":{"self":[{"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/posts\/512","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=512"}],"version-history":[{"count":17,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/posts\/512\/revisions"}],"predecessor-version":[{"id":1727,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/posts\/512\/revisions\/1727"}],"wp:attachment":[{"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/media?parent=512"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/categories?post=512"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/tags?post=512"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}