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\n<\/div><\/li>\n<\/ul>\n\nV\u00a0Kunstmuseu Liechtenstein pr\u00e1v\u011b prob\u00edh\u00e1 ve spolupr\u00e1ci s\u00a0berl\u00ednskou Akademie der K\u00fcnste p\u0159ipraven\u00e1 v\u00fdstava \u201eLens-Based Sculpture: Die Ver\u00e4nderung der Skulptur durch die Fotografie\u201c. A v Henry Moore Institute v Leedsu je zrovna k vid\u011bn\u00ed v\u00fdstava \u201ePhotographing Sculpture: How the Image Moves the Object\u201d. Zd\u00e1nliv\u011b margin\u00e1ln\u00ed t\u00e9ma vztahu mezi socha\u0159stv\u00edm a fotografi\u00ed je ve skute\u010dnosti extr\u00e9mn\u011b aktu\u00e1ln\u00ed. Prob\u00edhaj\u00ed v\u00fdstavy, vznikaj\u00ed studie, p\u0159ipravuje se konference. Konstatovat, \u017ee fotografie sochy nen\u00ed neutr\u00e1ln\u00ed, je zbyte\u010dn\u00e9. D\u016fle\u017eit\u011bj\u0161\u00ed ot\u00e1zka zn\u00ed: pro\u010d se t\u00edmto vztahem zab\u00fdv\u00e1me tak d\u016fkladn\u011b pr\u00e1v\u011b te\u010f? Nazna\u010dit odpov\u011b\u010f by mohla dvojice \u201epravdiv\u00fdch obraz\u016f\u201d.<\/p>\n
1<\/p>\n
Jedenaosmdes\u00e1tilet\u00fd historik um\u011bn\u00ed si sedl k\u00a0pracovn\u00edmu stolu, aby napsal p\u0159edmluvu k\u00a0p\u0159ipravovan\u00e9 knize o soch\u00e1ch sv\u00e9ho dlouholet\u00e9ho p\u0159\u00edtele. V\u00a0hlav\u011b se mu neza\u010dal odv\u00edjet souvisl\u00fd p\u0159\u00edb\u011bh, kter\u00fd by mohl p\u0159en\u00e9st na pap\u00edr, ale \u00fatr\u017eky toho, co spole\u010dn\u011b za\u017eili. Z\u00a0dvacetilet\u00e9ho p\u0159\u00e1telstv\u00ed se mu krom\u011b souboru vzpom\u00ednek dochovalo taky n\u011bkolik plastik, kter\u00e9 mu socha\u0159 v\u011bnoval. Historik um\u011bn\u00ed je nyn\u00ed rozestavil p\u0159ed sebe a up\u0159en\u011b na n\u011b hled\u011bl, aby mu napov\u011bd\u011bly, jak m\u00e1 p\u0159edmluvu o jejich autorovi napsat. Text se skute\u010dn\u011b za\u010dal odv\u00edjet. Psal o mnoha v\u011bcech. Psal o siln\u00e9m vlivu M. B. Brauna a jeho slavn\u00fdch soch\u00e1ch v\u00a0Kuksu, jejich\u017e podoby jako by byly zaklety v\u00a0p\u0159\u00edrodn\u00edch p\u00edskovcov\u00fdch \u00fatvarech a Braun je z\u00a0nich pouze vysvobodil. Takov\u00fdm v\u00fdkladem p\u0159ekro\u010dil hranici patosu, naivity a nev\u011bdeckosti. Historik um\u011bn\u00ed vlastn\u011b v\u016fbec nebyl historikem um\u011bn\u00ed. Vystudoval sice kunsthistorii a pracoval v\u00a0N\u00e1rodn\u00ed galerii, ale akademick\u00e9 kari\u00e9ry v\u00a0ideologicky \u0159\u00edzen\u00fdch instituc\u00edch minul\u00e9ho re\u017eimu se z\u00e1m\u011brn\u011b vzdal, aby se z\u00a0historika um\u011bn\u00ed stal \u201ep\u0159\u00edtelem um\u011blc\u016f\u201c. Za\u010dal nav\u0161t\u011bvovat jejich ateli\u00e9ry, prohl\u00ed\u017eel si nov\u011b vznikl\u00e9 pr\u00e1ce a rozmlouval o nich. Zcela se p\u0159itom z\u0159ekl kunsthistorick\u00fdch metod a osvojil si vn\u00edm\u00e1n\u00ed a my\u0161len\u00ed bl\u00edzk\u00e9 um\u011blc\u016fm. Jestli\u017ee ide\u00e1ln\u00ed um\u011blec se nam\u00edsto kalkul\u016f a spekulac\u00ed pozorn\u011b d\u00edv\u00e1 a podobn\u011b jako Braunovi mu budouc\u00ed podobu jeho d\u00edla napov\u00ed\u00a0p\u0159\u00edrodn\u00ed \u00fatvar, historik um\u011bn\u00ed, vlastn\u011b p\u0159\u00edtel um\u011blc\u016f, kop\u00edruje stejn\u00fd princip, kdy\u017e odhazuje ve\u0161kerou metodologii, um\u011bleck\u00e1 d\u00edla pouze rozestav\u00ed p\u0159ed sebe, sleduje je, \u010dek\u00e1 na jejich n\u00e1pov\u011bdu a teprve potom za\u010dne ps\u00e1t. Jestli\u017ee podoba um\u011bleck\u00e9ho d\u00edla je ukryta v\u00a0p\u0159\u00edrodn\u00edm \u00fatvaru, interpretace se stejn\u011b tak skr\u00fdv\u00e1 v\u00a0um\u011bleck\u00e9m d\u00edle. Spole\u010dn\u00e1 d\u016fv\u011bra v\u00a0p\u0159\u00edm\u00fd, nezprost\u0159edkovan\u00fd pohled potvrzuje bl\u00edzkost um\u011blce a p\u0159\u00edtele um\u011blc\u016f. A jakou roli zde hraje fotografie? V\u016fbec \u017e\u00e1dnou. Jako pom\u016fcka historika um\u011bn\u00ed dok\u00e1\u017ee uchov\u00e1vat, p\u0159emis\u0165ovat, komparovat a interpretovat um\u011bleck\u00e1 d\u00edla. P\u0159\u00edteli um\u011blc\u016f ale br\u00e1n\u00ed v\u00a0bezprost\u0159edn\u00edm pohledu na origin\u00e1ln\u00ed sochu, v\u00a0naslouch\u00e1n\u00ed tomu, co \u0159\u00edk\u00e1.<\/p>\n
2<\/p>\n
Kdy\u017e o n\u011bkolik generac\u00ed mlad\u0161\u00ed historik um\u011bn\u00ed p\u00ed\u0161e text jako je t\u0159eba tento, \u017e\u00e1dn\u00e1 socha mu nenapov\u00ed. I kdy\u017e p\u00ed\u0161e o um\u011blci, kter\u00fd se rovn\u011b\u017e inspiroval Braunem, situace je \u00fapln\u011b jin\u00e1. Um\u011blec si Braunovu sochu vyfotil z\u00a0n\u011bkolika \u00fahl\u016f, podle sn\u00edmk\u016f vytvo\u0159il nov\u00e9 sochy, kter\u00e9 znovu vyfotil a nov\u00e9 sn\u00edmky nahr\u00e1l na flashdisc nebo poslal mailem a te\u010f sv\u00edt\u00ed na displayi po\u010d\u00edta\u010de. Tato mnohon\u00e1sobn\u00e1 reprezentace je nejvlastn\u011bj\u0161\u00ed podm\u00ednkou pr\u00e1ce historika um\u011bn\u00ed. Jeho \u00fakolem nen\u00ed truchlit nad ztracenou bezprost\u0159ednost\u00ed jeho genera\u010dn\u00edch p\u0159edch\u016fdc\u016f, ale analyzovat zm\u011bny, kter\u00e9 se v\u00a0reprezenta\u010dn\u00edch posunech odehr\u00e1ly. Pr\u00e1v\u011b na to se zam\u011b\u0159uj\u00ed historici um\u011bn\u00ed, kte\u0159\u00ed p\u0159ipravili v\u00fdstavy v\u00a0Kunstmuseu Liechtenstein a Henri Moore Institute, ale podobn\u00fd probl\u00e9m analyzuje i sou\u010dasn\u00fd um\u011blec na p\u0159\u00edtomn\u00e9 v\u00fdstav\u011b v\u00a0galerii etc. Bl\u00edzkost historika um\u011bn\u00ed a um\u011blce se ustavuje znovu, i kdy\u017e na protikladn\u00e9m principu ne\u017e v\u00a0p\u0159\u00edpad\u011b jejich genera\u010dn\u00edch p\u0159edch\u016fdc\u016f. Zmi\u0148ovan\u00e9 zahrani\u010dn\u00ed v\u00fdstavy mohou nav\u00edc poskytnout metodologick\u00e9 n\u00e1stroje k\u00a0pops\u00e1n\u00ed toho, co na p\u0159\u00edtomn\u00e9 pra\u017esk\u00e9 v\u00fdstav\u011b vid\u00edme. Braunovsk\u00e9 variace by se daly vhodn\u011b charakterizovat jako Lens-Based-Sculptures a s\u00e9rii objekt\u016f na zdi vystihuje fr\u00e1ze How the Image Moves the Object.<\/p>\n
Jan Wollner<\/p>","protected":false},"excerpt":{"rendered":"
V\u00a0Kunstmuseu Liechtenstein pr\u00e1v\u011b prob\u00edh\u00e1 ve spolupr\u00e1ci s\u00a0berl\u00ednskou Akademie der K\u00fcnste p\u0159ipraven\u00e1 v\u00fdstava \u201eLens-Based Sculpture: Die Ver\u00e4nderung der Skulptur durch die Fotografie\u201c. A v Henry Moore Institute v Leedsu je zrovna k vid\u011bn\u00ed v\u00fdstava \u201ePhotographing Sculpture: How the Image Moves the Object\u201d. Zd\u00e1nliv\u011b margin\u00e1ln\u00ed t\u00e9ma vztahu mezi socha\u0159stv\u00edm a fotografi\u00ed je ve skute\u010dnosti extr\u00e9mn\u011b aktu\u00e1ln\u00ed. […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-1071","post","type-post","status-publish","format-standard","hentry","category-archive"],"_links":{"self":[{"href":"https:\/\/etcgalerie.cz\/cs\/wp-json\/wp\/v2\/posts\/1071","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/etcgalerie.cz\/cs\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/etcgalerie.cz\/cs\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/etcgalerie.cz\/cs\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/etcgalerie.cz\/cs\/wp-json\/wp\/v2\/comments?post=1071"}],"version-history":[{"count":6,"href":"https:\/\/etcgalerie.cz\/cs\/wp-json\/wp\/v2\/posts\/1071\/revisions"}],"predecessor-version":[{"id":1512,"href":"https:\/\/etcgalerie.cz\/cs\/wp-json\/wp\/v2\/posts\/1071\/revisions\/1512"}],"wp:attachment":[{"href":"https:\/\/etcgalerie.cz\/cs\/wp-json\/wp\/v2\/media?parent=1071"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/etcgalerie.cz\/cs\/wp-json\/wp\/v2\/categories?post=1071"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/etcgalerie.cz\/cs\/wp-json\/wp\/v2\/tags?post=1071"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}