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\n<\/div><\/li>\n<\/ul>\n<\/p>\nFamiliar? Yes! Stereotyped? Of course! Amusing – Why? Subtle – no, not here, but read on\u2026<\/p>\n
U autora komplexn\u011bj\u0161\u00edch, \u017eiv\u00fdch form\u00e1t\u016f na rozhran\u00ed performance a participace je rozm\u011brn\u00e1 materializovan\u00e1 instalace dvaceti \u201emenhir\u016f\u201c nemal\u00fdm p\u0159ekvapen\u00edm. \u010cas jako proces byl doposud v prac\u00edch Vojt\u011bcha Nov\u00e1ka nejen prost\u0159edkem, ale i centr\u00e1ln\u00edm t\u00e9matem, mat\u00e9ri\u00ed m\u011b\u0159enou, \u0159\u00edzenou a strukturovanou soci\u00e1ln\u00ed aktivitou a komunikac\u00ed. <\/p>\n
Sv\u00e9r\u00e1zn\u00e9 monolity sice \u201ekontejnuj\u00ed\u201c tv\u016fr\u010d\u00ed proces a aktualizac\u00ed archaick\u00e9ho nab\u00edzej\u00ed i dal\u0161\u00ed mo\u017en\u00e9 polohy ch\u00e1p\u00e1n\u00ed \u010dasov\u00e9ho kontinua, form\u00e1ln\u011b vzato ale nenajdeme v dosavadn\u00ed tvorb\u011b Vojt\u011bcha Nov\u00e1ka precedens, v ur\u010dit\u00e9m n\u00e1znaku snad jen v projektu Set the Time for a Statue (Galerie 44, Berlin, 2014). Nap\u0159\u00edklad v d\u00edle How Much Heat Can Concrete Withstand Nov\u00e1k \u010dasov\u00fd pr\u016fb\u011bh tak\u0159ka substanci\u00e1ln\u011b tavil do s\u00e9rie navazuj\u00edc\u00edch voln\u00fdch diskus\u00ed, projekt pak zopakoval v r\u00e1mci kur\u00e1torsk\u00e9 sekce How to Waste Time (Manifesta 11, Zurich, 2016) zam\u011b\u0159en\u00e9 na politikum terci\u00e1rn\u00edho \u010dasu. N\u00e1sleduje s\u00e9rie tematizuj\u00edc\u00ed anachronismus a bez\u010dasovost sou\u010dasn\u00e9ho globalizovan\u00e9ho sv\u011bta Silk Road Hybridization (Studio Letn\u00e1, Praha \/ Jan Naajkens Prize,’s-Hertogenbosch, 2016). V intenzivn\u00ed spolupr\u00e1ci s Andrewem Janem Haunerem vznikaj\u00ed mimo jin\u00e9 interaktivn\u00ed hry, nap\u0159\u00edklad inscenace 1st comes 3rd p\u0159ipraven\u00e1 pro Prague Quadrienale (t\u00e9\u017e Vorbrenner, Innsbruck 2015) \u010d\u00ed s\u00e9rie akc\u00ed v m\u011bstsk\u00e9m prost\u0159ed\u00ed Token (WOUND, NY, 2016), dal\u0161\u00ed multimedi\u00e1ln\u00ed instalace Oversleep Means Outrun (Kunstpodium T, Tilburg, 2016) vznik\u00e1 s Jamesem Beckettem.<\/p>\n
Asi u\u017e nen\u00ed t\u0159eba zd\u016fraz\u0148ovat, \u017ee p\u0159\u00edtomn\u00e9 falick\u00e9 formy nejsou v\u00fdsledkem nep\u0159im\u011b\u0159en\u00fdch socha\u0159sk\u00fdch ambic\u00ed autora, ale jeho dlouhodob\u00e9ho z\u00e1jmu o iluzivnost, virtu\u00e1ln\u00ed realitu a teorii m\u00e9di\u00ed. I p\u0159i z\u00e1m\u011brn\u00e9 komi\u010dnosti, m\u00e1 ale co \u0159\u00edci i k m\u00e9diu sochy. Ostatn\u011b i dlouh\u00fd n\u00e1zev v\u00fdstavy je sv\u00e9ho druhu doporu\u010den\u00edm, jak tuto pseudoskulptur\u00e1ln\u00ed instalaci \u010d\u00edst. Absurdnost simulace kamene v technice papier-m\u00e2ch\u00e9, vezmeme-li v potaz fyzik\u00e1ln\u00ed vlastnosti pap\u00edru (konkr\u00e9tn\u011b novin a jin\u00fdch komer\u010dn\u00edch tiskovin), n\u00e1m v perspektiv\u011b temporality otev\u00edr\u00e1 dal\u0161\u00ed velk\u00e9 diskurzivn\u00ed pole. <\/p>\n
Modely menhir\u016f jsou jak\u00fdmsi mimod\u011b\u010dn\u00fdm negativem imagin\u00e1rn\u00ed p\u0159edlohy. Objemy p\u0159edst\u00edraj\u00edc\u00ed k\u00e1men vymezuje v\u016f\u010di okol\u00ed jejich stylizovan\u00fd povrch, teatr\u00e1ln\u011b ka\u0161\u00edrovan\u00e9 vrstvy. Tato hutn\u00e1, ale p\u0159esto k\u0159ehk\u00e1 a nesouvisl\u00e1 krusta definuje samotn\u00e9 objekty, ale ur\u010duje i emotivn\u00ed a faktografick\u00e9 kvality kontextu, kter\u00fd je modeluje. Vojt\u011bch Nov\u00e1k popisuje symbolick\u00e9 rozhran\u00ed v\u00edce \u010di m\u00e9n\u011b d\u016fv\u011bryhodn\u00fdch vrstev interpretace megalitick\u00e9ho um\u011bn\u00ed. Dut\u00e1, lehk\u00e1 a transportovateln\u00e1 atrapa pak v kontrastu k pln\u00e9 hmot\u011b topograficky stabiln\u00edch kamen\u016f je\u0161t\u011b v\u00edce posiluje pocit manipulovatelnosti.<\/p>\n
V\u00e1ha, v\u00fd\u0161ka a p\u0159edev\u0161\u00edm lidsk\u00e1 s\u00edla, kter\u00e1 mnohatunov\u00fd megalit v krajin\u011b vzty\u010dila, podn\u011bcuje nejen odborn\u00e9 spekulace, ale v bezprost\u0159edn\u00edm pl\u00e1nu i siln\u00e9 afekty, od \u0161ovinistick\u00e9ho nad\u0161en\u00ed po romantickou nostalgii. \u010c\u00edm m\u00ed\u0148 se o star\u00fdch Keltech v\u00ed, t\u00edm v\u00edc prostoru z\u016fst\u00e1v\u00e1 pro iracion\u00e1ln\u00ed fascinaci a mystifikuj\u00edc\u00ed fikci. O\u010d v\u00edc myst\u00e9rium rezistentn\u011b odol\u00e1v\u00e1 \u010dasu a vzp\u00edr\u00e1 se rozlu\u0161t\u011bn\u00ed, o to v\u00edc se zintenziv\u0148uje debata kolem n\u011bj. Shroma\u017e\u010fuje se dokumentace, vymezuj\u00ed se typologie, vypo\u010d\u00edt\u00e1v\u00e1 se mno\u017estv\u00ed ov\u011b\u0159en\u00fdch keltsk\u00fdch pam\u00e1tek v jednotliv\u00fdch zem\u00edch.<\/p>\n
Tv\u016frci komiksu Asterix Ren\u00e9 Goscinny a kresl\u00ed\u0159 Albert Uderzo stvo\u0159ili groteskn\u00ed postavu \u201esocha\u0159e\u201c menhir\u016f Obelixe s v\u011bdom\u00edm, \u017ee p\u016fvodn\u00ed breta\u0148sk\u00e9 monolity nebyly v\u016fbec nebo jen minim\u00e1ln\u011b opracov\u00e1ny. Ironicky je socha\u0159ova role v distribuci t\u011b\u017ek\u00fdch kamen\u016f po krajin\u011b, p\u0159itom ani jednou auto\u0159i nevysv\u011btluj\u00ed, k \u010demu menhir slou\u017eil. Komiks tak ironicky odkazuje k prek\u00e9rn\u00edmu statusu menhiru v evolu\u010dn\u00edm programu d\u011bjin v\u00fdtvarn\u00e9ho um\u011bn\u00ed. Konzervativn\u00ed v\u00fdklad (ne)um\u011bn\u00ed prav\u011bku \u010di p\u0159\u00edrodn\u00edch n\u00e1rod\u016f p\u0159enech\u00e1val archeologii a antropologii. Z tak rozporupln\u00e9 situace by bylo mo\u017eno vypreparovat modelov\u00e9 sch\u00e9ma s obecn\u011bj\u0161\u00ed platnost\u00ed. Exponuje se zde potenci\u00e1l p\u0159\u00edtomn\u00e9ho momentu manipulovat historii a univerz\u00e1ln\u011bj\u0161\u00ed mechanismy konstruov\u00e1n\u00ed kulturn\u00edch vzor\u016f, nacion\u00e1ln\u00edch identit a mytologi\u00ed.<\/p>\n
Kur\u00e1torka: Mariana Serranov\u00e1<\/p>","protected":false},"excerpt":{"rendered":"
Familiar? Yes! Stereotyped? Of course! Amusing – Why? Subtle – no, not here, but read on\u2026 U autora komplexn\u011bj\u0161\u00edch, \u017eiv\u00fdch form\u00e1t\u016f na rozhran\u00ed performance a participace je rozm\u011brn\u00e1 materializovan\u00e1 instalace dvaceti \u201emenhir\u016f\u201c nemal\u00fdm p\u0159ekvapen\u00edm. \u010cas jako proces byl doposud v prac\u00edch Vojt\u011bcha Nov\u00e1ka nejen prost\u0159edkem, ale i centr\u00e1ln\u00edm t\u00e9matem, mat\u00e9ri\u00ed m\u011b\u0159enou, \u0159\u00edzenou a strukturovanou soci\u00e1ln\u00ed […]<\/p>\n","protected":false},"author":6,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-2404","post","type-post","status-publish","format-standard","hentry","category-archive"],"_links":{"self":[{"href":"https:\/\/etcgalerie.cz\/cs\/wp-json\/wp\/v2\/posts\/2404","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\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/etcgalerie.cz\/cs\/wp-json\/wp\/v2\/comments?post=2404"}],"version-history":[{"count":7,"href":"https:\/\/etcgalerie.cz\/cs\/wp-json\/wp\/v2\/posts\/2404\/revisions"}],"predecessor-version":[{"id":2461,"href":"https:\/\/etcgalerie.cz\/cs\/wp-json\/wp\/v2\/posts\/2404\/revisions\/2461"}],"wp:attachment":[{"href":"https:\/\/etcgalerie.cz\/cs\/wp-json\/wp\/v2\/media?parent=2404"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/etcgalerie.cz\/cs\/wp-json\/wp\/v2\/categories?post=2404"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/etcgalerie.cz\/cs\/wp-json\/wp\/v2\/tags?post=2404"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}