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\n<\/div><\/li>\n<\/ul>\n<\/p>\nV\u00fdstavu v etc. Galerii jsme s Annou Hula\u010dovou (1984) domlouvali p\u0159es dva roky. Za tuto dobu se pro autorku mnoh\u00e9 zm\u011bnilo: z nad\u011bjn\u00e9 um\u011blkyn\u011b, kter\u00e1 sv\u00fdm inven\u010dn\u00edm p\u0159\u00edstupem k\u00a0tradi\u010dn\u00ed so\u0161e byla pova\u017eov\u00e1na za ur\u010dit\u00fd druh alternativy v\u016f\u010di \u201cpostkonceptualismu\u201d se stala na \u010desk\u00e9 sc\u00e9n\u011b etablovan\u00e1 autorka, jej\u00ed\u017e d\u00edlo opl\u00fdv\u00e1 potenci\u00e1lem pro \u0161ir\u0161\u00ed uzn\u00e1n\u00ed mimo lok\u00e1ln\u00ed prost\u0159ed\u00ed. Za tu dobu se \u010deskou krajinou prohnal fenom\u00e9n \u201cpostinternetov\u00e9ho\u201d um\u011bn\u00ed, a zat\u00edmco se p\u0159ed p\u00e1r lety v \u00fazk\u00e9 kruhu\u00a0 um\u011bleck\u00e9 komunity byla o Annin\u011b tvorb\u011b vyn\u00e1\u0161ena slova uzn\u00e1n\u00ed, jsme nyn\u00ed v situaci, kdy se mnoz\u00ed lid\u00e9 \u010dasto i v dobr\u00e9 v\u00ed\u0159e (p\u0159ibl\u00ed\u017eit sou\u010dasn\u00e9 um\u011bn\u00ed \u0161ir\u0161\u00ed ve\u0159ejnosti)\u00a0 sna\u017e\u00ed jej\u00ed tvorbu za\u0161katulkovat, normalizovat a t\u00e9m\u011b\u0159 symbolicky \u0159e\u010deno – obrousit v\u0161echny ostr\u00e9 hrany jej\u00edho asociativn\u00edho p\u0159\u00edstupu.<\/p>\n
T\u011bmto snah\u00e1m napomohla i jej\u00ed p\u0159\u00edtomnost na leto\u0161n\u00edm fin\u00e1le Ceny Jind\u0159\u00edcha Chalupeck\u00e9ho a n\u00e1sledn\u00e9 ud\u011blen\u00ed \u201cceny div\u00e1k\u016f\u201c pr\u00e1v\u011b Ann\u011b. B\u011bhem kon\u00e1n\u00ed fin\u00e1lov\u00e9 v\u00fdstavy se za\u010daly oz\u00fdvat hlasy, \u017ee cel\u00e9 v\u00fdstava finalist\u016f neodpov\u00edd\u00e1 sou\u010dasn\u00fdm tendenc\u00edm, a je sv\u00fdm opo\u017ed\u011bn\u00fdm uzn\u00e1n\u00edm ji\u017e \u201cvy\u0159e\u0161en\u00fdch\u201d autor\u016f. Annino ocen\u011bn\u00ed pak bylo navrch interpretov\u00e1no, z\u00a0pohledu zasv\u011bcen\u00fdch insider\u016f,\u00a0 skrze jej\u00ed p\u0159\u00edchylnost\u00ed ke klasick\u00e9mu \u0159emeslu a spl\u0148uj\u00edc\u00ed tak p\u0159edstavy \u0161ir\u0161\u00ed ve\u0159ejnosti o v\u00fdtvarn\u00e9m d\u00edlu.<\/p>\n
Proto jsme r\u00e1di, \u017ee se etc. galerie op\u011bt stala m\u00edstem, kter\u00e9 se intuitivn\u00ed \u201etv\u016fr\u010d\u00ed laborato\u0159\u00ed\u201c (by\u0165 i tohoto pojmu se st\u00e1v\u00e1 kli\u0161\u00e9). Anna si vyzkou\u0161ela jin\u00e9 motivy, a naopak jin\u00fdch \u201eleitmotiv\u016f\u201c, spojen\u00fdch s\u00a0jej\u00ed tvorbou se zbavila. Jin\u00e9 a\u017e groteskn\u011b p\u0159ehnala a reagovala tak na prostorov\u00e1 specifika galerie (\u010derven\u00fd koberec a malba na zdi). Vytvo\u0159ila \u201ena\u010dan\u010danou\u201c a pro n\u011bkter\u00e9 o\u010di a\u017e nevkusnou inscenaci, kter\u00e1 z\u00e1rove\u0148 div\u00e1ka znepokojuje –\u00a0 a pr\u00e1v\u011b znepokojiv\u00e9 roviny jej\u00edho d\u00edla byly ur\u010dit\u00fd \u010das zast\u0159eny. Principy jej\u00ed pr\u00e1ce se ov\u0161em p\u0159\u00edli\u0161 nezm\u011bnil, nakonec i my\u0161lenka \u00fast\u0159edn\u00ed konstrukce cel\u00e9 instalace nen\u00ed nov\u00e1. Jej\u00ed tvar vych\u00e1z\u00ed ze star\u0161\u00edch um\u011bl\u010din\u00fdch kreseb – ale a\u017e nyn\u00ed do\u0161la k\u00a0materi\u00e1ln\u00edmu zavr\u0161en\u00ed. Anna tedy navzdory (pozitivn\u00edm i negativn\u00edm) ohlas\u016fm sv\u00e9 d\u00edlo rozv\u00edj\u00ed neo\u010dek\u00e1van\u00fdm zp\u016fsobem \u2013 odra\u017e\u00ed jej\u00ed specifick\u00e9 my\u0161len\u00ed, pracuj\u00edc\u00ed s\u00a0n\u00e1paditou a ne\u010dekanou asociativnost\u00ed.<\/p>\n
N\u00e1zev v\u00fdstavy je h\u0159\u00ed\u010dkou, kterou mi osv\u011btlila Anna v\u00a0mailu, a kter\u00fd by bylo \u0161koda jej kr\u00e1tce necitovat \u2013 uv\u00e1d\u00ed n\u00e1s v\u00a0komplexnost a osobitost jej\u00edho vn\u00edm\u00e1n\u00ed sv\u011bta:<\/p>\n
\u201e<\/i>Objekt vych\u00e1z\u00ed z m\u00fdch\u00a0 star\u0161\u00edch typ\u016f kreseb, kter\u00e9 jsou rokokov\u011bj\u0161\u00edho charakteru. Tvar je jak k\u0159ehkou dekorac\u00ed, tak \u010d\u00e1ste\u010dn\u011b nosn\u00edkem (soklem) pro bustu. Dvojportr\u00e9t – schizofr\u00e9nn\u00ed monolog jedn\u00e9 osoby, kter\u00e1 je siamsky rozd\u011blena na dv\u011b hlavy. Charakter tv\u00e1\u0159\u00ed je anonymn\u00ed a v\u00fdraz tvo\u0159\u00ed pouze p\u0159edm\u011bt, jeho\u017e funkce b\u00fdv\u00e1 praktick\u00fdm, nutn\u00fdm, ale i estetick\u00fdm dopl\u0148kem obli\u010deje. Br\u00fdle pak mohou ve smyslu tvarov\u00e9ho spojen\u00ed dvou bod\u016f – o\u010d\u00ed symbolizovat nekone\u010dno.\u00a0<\/i><\/p>\n
(\u2026) \u00a0<\/i><\/p>\n
V\u00e1noce jsou p\u0159e\u017eitkem, stejn\u011b tak Velikonoce. Jde jen o um\u011bl\u00e9 nastavov\u00e1n\u00ed pravidel tradic. P\u0159\u00edtomnost je t\u011blesn\u00e1 a ta vn\u00edm\u00e1 teplo nebo zimu.\u00a0 Tak\u017ee „V\u00e1noce na bl\u00e1t\u011b“ mohou b\u00fdt Jarem. Estetika rokokov\u00e9 t\u011blov\u00e9 r\u016f\u017eov\u00e9 i tvaru instalace m\u016f\u017ee b\u00fdt jak\u00fdmsi t\u011blem. Stejn\u011b tak stigma v ruce, ze kter\u00e9ho te\u010de p\u011bna, je (pozdravem) „Ahoj“.\u201c<\/i><\/p>\n
Kur\u00e1tor: Martin Prudil<\/p>","protected":false},"excerpt":{"rendered":"
V\u00fdstavu v etc. Galerii jsme s Annou Hula\u010dovou (1984) domlouvali p\u0159es dva roky. Za tuto dobu se pro autorku mnoh\u00e9 zm\u011bnilo: z nad\u011bjn\u00e9 um\u011blkyn\u011b, kter\u00e1 sv\u00fdm inven\u010dn\u00edm p\u0159\u00edstupem k\u00a0tradi\u010dn\u00ed so\u0161e byla pova\u017eov\u00e1na za ur\u010dit\u00fd druh alternativy v\u016f\u010di \u201cpostkonceptualismu\u201d se stala na \u010desk\u00e9 sc\u00e9n\u011b etablovan\u00e1 autorka, jej\u00ed\u017e d\u00edlo opl\u00fdv\u00e1 potenci\u00e1lem pro \u0161ir\u0161\u00ed uzn\u00e1n\u00ed mimo lok\u00e1ln\u00ed prost\u0159ed\u00ed. […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-2252","post","type-post","status-publish","format-standard","hentry","category-archive"],"_links":{"self":[{"href":"https:\/\/etcgalerie.cz\/cs\/wp-json\/wp\/v2\/posts\/2252","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\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/etcgalerie.cz\/cs\/wp-json\/wp\/v2\/comments?post=2252"}],"version-history":[{"count":6,"href":"https:\/\/etcgalerie.cz\/cs\/wp-json\/wp\/v2\/posts\/2252\/revisions"}],"predecessor-version":[{"id":2299,"href":"https:\/\/etcgalerie.cz\/cs\/wp-json\/wp\/v2\/posts\/2252\/revisions\/2299"}],"wp:attachment":[{"href":"https:\/\/etcgalerie.cz\/cs\/wp-json\/wp\/v2\/media?parent=2252"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/etcgalerie.cz\/cs\/wp-json\/wp\/v2\/categories?post=2252"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/etcgalerie.cz\/cs\/wp-json\/wp\/v2\/tags?post=2252"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}