Drdova Gallery s pot\u011b\u0161en\u00edm p\u0159edstavuje prvn\u00ed samostatnou v\u00fdstavu Jana Tich\u00e9ho v \u010cesk\u00e9 republice. V\u00fdstava M\u0159\u00ed\u017e je souborem jak star\u0161\u00edch, tak nov\u00fdch a site-specific prac\u00ed, kter\u00e9 spole\u010dn\u011b dokl\u00e1daj\u00ed Tich\u00e9ho uva\u017eov\u00e1n\u00ed o m\u00e9di\u00edch, jako je fotografie, video, projekce nebo neon, a sou\u010dasn\u011b jsou silnou v\u00fdpov\u011bd\u00ed o stavu na\u0161\u00ed spole\u010dnosti a historick\u00fdch ud\u00e1lostech ve velmi explicitn\u00ed i abstrahuj\u00edc\u00ed podob\u011b.<\/p>\n
Charakteristick\u00fdm prvkem instalac\u00ed Jana Tich\u00e9ho je pr\u00e1ce s videoprojektorem, kter\u00fd slou\u017e\u00ed jako sv\u011bteln\u00e1 projekce a vytv\u00e1\u0159\u00ed tak fyzick\u00e9 a psychick\u00e9 prostory, ve kter\u00fdch zkoum\u00e1 t\u00e9mata ukr\u00fdv\u00e1n\u00ed se a zapomn\u011bn\u00ed, vid\u011bn\u00e9ho a nevid\u011bn\u00e9ho. Jeho p\u0159em\u00fd\u0161len\u00ed o prostoru a sv\u011btle se zakl\u00e1d\u00e1 na historick\u00fdch, sociologick\u00fdch, architektonick\u00fdch a stejn\u011b tak um\u011bleck\u00fdch konotac\u00edch vztahuj\u00edc\u00edch se k v\u00fdstavn\u00edmu prostoru, jeho prostorov\u00e9 estetice a mo\u017en\u00fdm politicko-spole\u010densk\u00fdm implikac\u00edm.<\/p>\n
Architektonick\u00e1 koncepce v\u00fdstavy prom\u011bnila \u010dlen\u011bn\u00ed prostoru a je zalo\u017een\u00e1 na vz\u00e1jemn\u00e9m propojen\u00ed a prol\u00edn\u00e1n\u00ed se z\u00e1kladn\u00edch prvk\u016f autorovy tvorby. Div\u00e1k vn\u00edm\u00e1 architekturu, sv\u011btlo a zvuk v r\u016fzn\u00e9 prom\u011bn\u011b a intenzit\u011b v ka\u017ed\u00e9 \u010d\u00e1sti galerie. Fyzick\u00e1 p\u0159\u00edtomnost projekce m\u0159\u00ed\u017e\u00ed dovnit\u0159 prostoru za rozd\u00edln\u00fdch sv\u011bteln\u00fdch podm\u00ednek \u2013 denn\u00edho a um\u011bl\u00e9ho sv\u011btla, sv\u011bteln\u00e9 projekce, sv\u011btla neonu a ve\u0159ejn\u00e9ho osv\u011btlen\u00ed \u2013 p\u016fsob\u00ed odli\u0161n\u011b v z\u00e1vislosti na denn\u00ed dob\u011b. Prvek zvuku, respektive lidsk\u00e9 hlasy, kter\u00e9 promlouvaj\u00ed z vide\u00ed, dotv\u00e1\u0159\u00ed celkov\u00fd obraz d\u011bje, kter\u00fd div\u00e1ka obklopuje a promlouv\u00e1 k n\u011bmu svou nal\u00e9havou v\u00fdpov\u011bd\u00ed.<\/p>\n
V\u00fdstavu otv\u00edr\u00e1 video Changing Chicago (County Prison), 2012. Pr\u00e1ce je sou\u010d\u00e1st\u00ed s\u00e9rie dev\u00edti vide\u00ed, ve kter\u00fdch Tich\u00fd zkoum\u00e1 sv\u00e9 adoptivn\u00ed m\u011bsto. P\u016fvodn\u011b byl pozv\u00e1n, aby reagoval na kolekci fotografi\u00ed Muzea sou\u010dasn\u00e9 fotografie v Chicagu s n\u00e1zvem Changing Chicago z druh\u00e9 poloviny 80. let, kdy t\u0159i des\u00edtky fotograf\u016f dokumentovali ka\u017edodenn\u00ed \u017eivot tohoto m\u011bsta a jeho obyvatel. Tich\u00fd o \u010dtvrtstolet\u00ed pozd\u011bji vede s t\u011bmito tv\u016frci dialog a zachycuje jeho sou\u010dasn\u00e9 Chicago. D\u011bje se tak prost\u0159ednictv\u00edm statick\u00e9 kamery sleduj\u00edc\u00ed r\u016fzn\u00e9 situace, kter\u00e1 v\u0161ak nehled\u00e1 jejich konkr\u00e9tn\u00ed a rozhoduj\u00edc\u00ed okam\u017eik jako Bresonova fotografie, ale naopak roz\u0161i\u0159uje dan\u00fd moment o dal\u0161\u00ed \u010das.<\/p>\n
Rozv\u00edjej\u00edc\u00ed se d\u011bj ur\u010dit\u00e9 chv\u00edle trvaj\u00edc\u00ed n\u011bkolik minut zachycuje tak\u00e9 video ze s\u00e9rie Pictures (2007) z no\u010dn\u00edho Tel Avivu. M\u011bstsk\u00e1 situace je nabit\u00e1 nejist\u00fdm nap\u011bt\u00edm, kdy nen\u00ed jasn\u00e9, zda jsme sv\u011bdky pr\u00e1v\u011b kon\u010d\u00edc\u00edho, nebo naopak v o\u010dek\u00e1v\u00e1n\u00ed nov\u00e9ho d\u011bje.<\/p>\n
Fotografie Landing (2011) zachycuj\u00edc\u00ed \u010dlov\u011bka na ranveji, kter\u00fd pomoc\u00ed sv\u011bteln\u00fdch ty\u010d\u00ed naviguje letadlo, je personifikovan\u00fdm momentem p\u0159\u00edchodu \u010di opou\u0161t\u011bn\u00ed. Pr\u00e1ce je prezentov\u00e1na na obrazovce, kter\u00e1 je z\u00e1kladn\u00edm m\u00e9diem pro digit\u00e1ln\u00ed fotografii.<\/p>\n
St\u0159edn\u00ed \u010d\u00e1st galerie vznikla jako dal\u0161\u00ed prostor, kde okenn\u00ed m\u0159\u00ed\u017ee odd\u011bluj\u00ed dv\u011b pr\u00e1ce.\u00a0 Na tabletu na podlaze spir\u00e1lovit\u011b ub\u00edh\u00e1 schodi\u0161t\u011b uprchlick\u00e9ho t\u00e1bora v Berl\u00edn\u011b a lid\u00e9 po n\u011bm vyb\u00edhaj\u00ed a sch\u00e1zej\u00ed dol\u016f. D\u011bj videa L\u00e1gr (2016), kter\u00fd byl nato\u010den b\u011bhem p\u0159edchoz\u00edch m\u011bs\u00edc\u016f autorova pobytu v N\u011bmecku, je op\u011bt veden za hranici konkr\u00e9tn\u00edho momentu. Nez\u0159eteln\u00fd zvuk lidsk\u00fdch hlas\u016f, arab\u0161tiny, napl\u0148uje prostor stejn\u011b jako jazyk neonu.<\/p>\n
Lidsk\u00fd jazyk a t\u00e9ma sou\u010dasn\u00e9 uprchlick\u00e9 krize a jeho \u0161ir\u0161\u00ed a historick\u00e9 konotace se staly n\u00e1m\u011btem i dal\u0161\u00edch prac\u00ed, kter\u00e9 Tich\u00fd vytvo\u0159il pro p\u0159ede\u0161l\u00e9 v\u00fdstavy v Berl\u00edn\u011b a Osnabr\u00fccku. Neon ve tvaru troj\u00faheln\u00edku s n\u00e1zvem German Nature (2016) sv\u00fdm sv\u011btlem dokl\u00e1d\u00e1 mno\u017estv\u00ed jazyk\u016f v\u00edce jak milionu uprchl\u00edk\u016f na n\u011bmeck\u00e9m \u00fazem\u00ed.<\/p>\n
\u010ctvercov\u00fd b\u00edl\u00fd neon Czech Nature (2017), v okn\u011b pra\u017esk\u00e9 galerie, reaguje na neust\u00e1lou aktualizaci slova \u201cuprchl\u00edci\u201d v internetov\u00e9m vyhled\u00e1va\u010di onlinov\u00e9 verze Lidov\u00fdch novin. Jeho sv\u011btlo se rozsv\u011bcuje a zhas\u00edn\u00e1 podle impuls\u016f, kter\u00e9 dost\u00e1v\u00e1 p\u0159ekladem zvuku \u010dten\u00e9ho slova \u010dasto negativn\u00edch a\u017e nen\u00e1vistn\u00fdch koment\u00e1\u0159\u016f k \u010dl\u00e1nk\u016fm, kter\u00e9 vyhled\u00e1va\u010d \u0159ad\u00ed za sebou.<\/p>\n
N\u00e1zev d\u00edla odkazuje k neonu americk\u00e9ho um\u011blce Bruce Naumana Human Nature \/Life Death (1983), kter\u00fd byl nainstalov\u00e1n do okna Kulturn\u00edho centra v Chicagu v 90. letech.\u00a0 Tich\u00fd p\u016fvodn\u011b p\u0159ed n\u011bmeck\u00fdm a \u010desk\u00fdm neonem vytvo\u0159il kruhov\u00e9 Chicago Nature (after Nauman), 2014 a New York Nature (after Nauman), 2016, kter\u00e9 reaguj\u00ed na lok\u00e1ln\u00ed policejn\u00ed vys\u00edl\u00e1n\u00ed.\u00a0 Pra\u017esk\u00fd neon jako jedin\u00fd, oproti sv\u00fdm p\u0159edch\u016fdc\u016fm, funguje na ob\u011b strany. Fyzicky napl\u0148uje jak galerijn\u00ed, tak ve\u0159ejn\u00fd prostor v z\u00e1vislosti na zm\u011bn\u011b denn\u00edho sv\u011btla. S p\u0159ib\u00fdvaj\u00edc\u00edm \u010dasem intenzita sv\u011bteln\u00fdch pulz\u016f zesiluje do t\u00e9 m\u00edry, \u017ee ji nem\u016f\u017eeme sn\u00e9st.<\/p>\n
Site-specific Installation no. 33 (2017) aktivuje prostor sv\u011btelnou projekc\u00ed. V\u0161echna okna v zadn\u00ed \u010d\u00e1sti galerie jsou zatemn\u011bna. Sv\u011btlo projektoru proch\u00e1z\u00ed tmav\u00fdm prostorem a moduluje jej skrze reflexe okenn\u00edch tabul\u00ed a m\u0159\u00ed\u017e\u00ed; sleduje tvary toho, co se nach\u00e1z\u00ed uvnit\u0159. Doch\u00e1z\u00ed k dekompozici digit\u00e1ln\u00edho sv\u011btla. Prostor, \u010das a pohyb se podmi\u0148uj\u00ed navz\u00e1jem a vytv\u00e1\u0159\u00ed singularitu. V p\u0159em\u00fd\u0161len\u00ed o prostoru a sv\u011btle Tich\u00e9ho lze naj\u00edt konotace k odkazu \u010desk\u00e9 avantgardy v osob\u011b Zde\u0148ka Pe\u0161\u00e1nka, kter\u00fd sv\u00fdmi solit\u00e9rn\u00edmi a ojedin\u011bl\u00fdmi d\u00edly p\u0159edstihl slavn\u011bj\u0161\u00ed sou\u010dasn\u00edky, jak\u00fdmi byli L\u00e1szl\u00f3 Moholy-Nagy nebo Man Ray.<\/p>\n
Architektonick\u00fd prvek okna jak ve sv\u00e9 fyzick\u00e9, tak abstraktn\u00ed rovin\u011b proch\u00e1z\u00ed v\u0161emi \u010d\u00e1stmi v\u00fdstavy. Okno se st\u00e1v\u00e1 prost\u0159edkem vyj\u00e1d\u0159en\u00ed toho, co je tady a tam, uvnit\u0159 a venku;\u00a0 prost\u0159ednictv\u00edm sv\u00e9 funkce p\u0159iv\u00e1d\u00ed do prostoru nejen sv\u011btlo, ale i \u010das.<\/p>\n
Jedin\u00fdm galerijn\u00edm osv\u011btlen\u00edm v cel\u00e9 v\u00fdstav\u011b je z\u00e1\u0159ivka v okn\u011b kancel\u00e1\u0159e, kter\u00e1 v tomto p\u0159\u00edpad\u011b funguje jako dov\u011btek. Video Cage (2002) dopl\u0148uje t\u00e9ma v\u00fdstavy. Jedn\u00e1 se o spolupr\u00e1ci Tich\u00e9ho se skupinou etiopsk\u00fdch \u017did\u016f \u017eij\u00edc\u00edch v Izraeli. Na st\u011bn\u011b pak vis\u00ed t\u0159i fotografie, kter\u00e9 byly po\u0159\u00edzeny v prosinci 1989 ve v\u00fdchodn\u00edm Berl\u00edn\u011b, kdy Tich\u00fd poprv\u00e9 p\u0159ekro\u010dil hranice na Z\u00e1pad.<\/p>\n
Jan Tich\u00fd (1974) se narodil v Praze.\u00a0 V polovin\u011b 90. let studoval politick\u00e9 v\u011bdy na Hebrejsk\u00e9 univerzit\u011b a fotografii na vysok\u00e9 \u0161kole Musrara v Jeruzal\u00e9m\u011b a tak\u00e9 Bezalel akademii v Tel Avivu v Izraeli. V roce 2007 se p\u0159est\u011bhoval do Chicaga, kde pokra\u010doval ve studiu na School of the Art Institute of Chicago, kde v sou\u010dasn\u00e9 dob\u011b pracuje jako assistant professor v ateli\u00e9rech fotografie a um\u011bn\u00ed a technologie.<\/p>\n
Loni m\u011bl Tich\u00fd n\u011bkolik autorsk\u00fdch v\u00fdstav jak ve Spojen\u00fdch st\u00e1tech v SBMA v Santa Barba\u0159e, Hyde Park Art Center v Chicagu, Fridman Gallery v New Yorku, tak v Evrop\u011b v galerii Kornfeld v Berl\u00edn\u011b a Kunsthalle Osnabr\u00fcck v N\u011bmecku. V posledn\u00edch letech vystavoval v \u0159ad\u011b instituc\u00ed jako Museum of Contemporary Art, Chicago; CCA Tel Aviv; Tel Aviv Museum of Art; nebo Wadsworth Atheneum Museum of Art.<\/p>\n
Jeho pr\u00e1ce jsou sou\u010d\u00e1st\u00ed sb\u00edrek instituc\u00ed jako Museum of Modern Art, New York; The Israel Museum, Jerusalem; Magasin 3 Stockholm Konsthall; MoBY \u2013 Museum of Contemporary Art, Bat Yam a Spertus Museum, Chicago.<\/p>","protected":false},"excerpt":{"rendered":"
Drdova Gallery s pot\u011b\u0161en\u00edm p\u0159edstavuje prvn\u00ed samostatnou v\u00fdstavu Jana Tich\u00e9ho v \u010cesk\u00e9 republice. V\u00fdstava M\u0159\u00ed\u017e je souborem jak star\u0161\u00edch, tak […]<\/p>\n","protected":false},"author":2,"featured_media":674,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[19,4],"tags":[],"class_list":["post-752","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\/752","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=752"}],"version-history":[{"count":4,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/posts\/752\/revisions"}],"predecessor-version":[{"id":1182,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/posts\/752\/revisions\/1182"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/media\/674"}],"wp:attachment":[{"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/media?parent=752"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/categories?post=752"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/tags?post=752"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}