{"id":3595,"date":"2020-05-12T14:08:36","date_gmt":"2020-05-12T14:08:36","guid":{"rendered":"http:\/\/etcgalerie.cz\/?p=3595"},"modified":"2020-07-23T13:53:30","modified_gmt":"2020-07-23T11:53:30","slug":"predstavy-komunity-i-spolek-pratel-pohybliveho-obrazu-2","status":"publish","type":"post","link":"https:\/\/etcgalerie.cz\/cs\/predstavy-komunity-i-spolek-pratel-pohybliveho-obrazu-2\/","title":{"rendered":"P\u0159edstavy komunity I: Spolek p\u0159\u00e1tel pohybliv\u00e9ho obrazu"},"content":{"rendered":"

Kur\u00e1to\u0159i: Mark\u00e9ta Jon\u00e1\u0161ov\u00e1 a Tom\u00e1\u0161 Kaj\u00e1nek<\/p>\n

Online v\u00fdstavn\u00ed projekt s n\u00e1zvem Spolek p\u0159\u00e1tel pohybliv\u00e9ho obrazu<\/i> p\u0159edstavuje historick\u00e9 i sou\u010dasn\u00e9 podoby kolektiv\u016f, jen\u017e vznikly za \u00fa\u010delem podpory produkce, prezentace a v\u00fdzkumu um\u011bleck\u00e9ho filmu a videoartu. Na z\u00e1klad\u011b srovn\u00e1n\u00ed t\u011bchto uskupen\u00ed projekt ukazuje, nakolik je vedle spole\u010dn\u00e9ho z\u00e1jmu o m\u00e9dium pohybliv\u00e9ho obrazu pro jejich fungov\u00e1n\u00ed z\u00e1sadn\u00ed tak\u00e9 dobov\u00fd politick\u00fd kontext a p\u0159evl\u00e1daj\u00edc\u00ed spole\u010densk\u00e9 podm\u00ednky. Prom\u00edt\u00e1n\u00ed na webov\u00fdch str\u00e1nk\u00e1ch galerie, doprovodn\u00e9 texty a autorsk\u00e9 re\u0161er\u0161e p\u0159edstav\u00ed \u010dinnost Anthology Film Archives, \u010deskoslovensk\u00e9 skupiny Obor video a platformy D’EST.<\/p>\n

Produkce: Anna Davidov\u00e1,\u00a0Grafika: Nela Kl\u00edmov\u00e1,\u00a0Web: Ond\u0159ej Rozto\u010dil, Spolupr\u00e1ce: Ad\u00e9la Komrz\u00fd, Al\u017eb\u011bta Ba\u010d\u00edkov\u00e1, Ulrike Gerhardt<\/p>\n

Finan\u010dn\u00ed podporu projektu poskytly MK \u010cR a MHMP.<\/p>\n

PROM\u00cdT\u00c1N\u00cd SE USKUTE\u010cN\u00cd V\u00ddHRADN\u011a ONLINE NA STR\u00c1NK\u00c1CH ETC. GALERIE V Z\u00c1LO\u017dCE „KINO“.<\/p>\n

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PROGRAM:<\/p>\n

24. 5. \u2013 20:00 \u2013 Laboratorium Anthology, Jonas Mekas & Auguste Varkalis<\/strong><\/p>\n

26. 5. \u2013 20:00 \u2013 Obor video, Petr Skala: Videoart, Radek Pila\u0159: Zrcadlo \u010dasu, ve spolupr\u00e1ci s Ad\u00e9lou Komrz\u00fd<\/strong><\/p>\n

27. 5. \u2013 20:00 \u2013 D’EST, Debates on Division: When Private Becomes Public, Anna Bitkina & Gluklya<\/strong><\/p>\n

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SPOLKY P\u0158\u00c1TEL POHYBLIV\u00c9HO OBRAZU<\/b><\/p>\n

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V koment\u00e1\u0159i ke kr\u00e1tk\u00e9mu dokument\u00e1rn\u00edmu sn\u00edmku Petra Skaly z roku 1990 zazn\u00edv\u00e1 v\u011bta, kterou \u010dasto sl\u00fdch\u00e1v\u00e1me i v sou\u010dasn\u00e9 dob\u011b p\u0159i v\u00fdkladu historie \u010desk\u00e9ho videoartu: \u201e\u010cesk\u00fd videoart se mo\u017en\u00e1 za sv\u011btem o p\u00e1r let opozdil, ale zato \u0161el svou vlastn\u00ed cestou\u201c. V tomto srovn\u00e1v\u00e1n\u00ed \u010desk\u00e9ho a z\u00e1padn\u00edho videoartu, je\u017e nez\u0159\u00eddka vede k vyn\u00e1\u0161en\u00ed hodnot\u00edc\u00edch soud\u016f, nen\u00ed pozadu tvorba m\u00edstn\u00edch um\u011blc\u016f, ale sp\u00ed\u0161e samotn\u00e9 ideje, na kter\u00fdch je toto srovn\u00e1n\u00ed zalo\u017eeno. Pokud je n\u011bco z hlediska historie videoartu pozadu, pak je to ch\u00e1p\u00e1n\u00ed d\u011bjin um\u011bn\u00ed ve smyslu jednolit\u00e9ho v\u00fdvoje um\u011bleck\u00fdch forem, je\u017e se odv\u00edj\u00ed od univerz\u00e1ln\u00edho (tedy z\u00e1padn\u00edho) ducha pokroku. Pohybliv\u00fd obraz vzdoruje tomuto pojet\u00ed d\u011bjin v\u00edce ne\u017e kter\u00e9koliv jin\u00e9 m\u00e9dium, nebo\u0165 historie jeho produkce je \u00fazce prov\u00e1zan\u00e1 s v\u00fdvojem a dostupnost\u00ed technologi\u00ed pro jeho z\u00e1znam a p\u0159enos, co\u017e podmi\u0148uj\u00ed konkr\u00e9tn\u00ed spole\u010densk\u00e9, ekonomick\u00e9 a politick\u00e9 podm\u00ednky, nikoliv abstraktn\u00ed line\u00e1rn\u00ed v\u00fdvoj. Dostupnost technick\u00e9ho za\u0159\u00edzen\u00ed byla pro rozvoj videoartov\u00e9 tvorby v z\u00e1padn\u00edch zem\u00edch v 60. letech stejn\u011b podstatn\u00e1 jako obrat tv\u016frc\u016f k neo-avantgardn\u00ed um\u011bleck\u00e9 praxi. P\u0159enosn\u00e9 videorekord\u00e9ry a kamery se staly prost\u0159edkem zachycen\u00ed performativn\u00edch d\u011bl a zprost\u0159edkov\u00e1n\u00ed anga\u017eovan\u00e9 um\u011bleck\u00e9 tvorby, a z\u00e1rove\u0148 otev\u0159ely nov\u00e9 pole pro konceptu\u00e1ln\u00ed a medi\u00e1ln\u00ed experimenty (Meigh-Andrews, 2013). Absence struktur pro podporu produkce a prezentace pohybliv\u00e9ho obrazu \u2013 a z\u00e1rove\u0148 pot\u0159eba vz\u00e1jemn\u00e9 spolupr\u00e1ce vypl\u00fdvaj\u00edc\u00ed z komplexn\u00ed povahy tohoto m\u00e9dia \u2013 vedla um\u011blce k hled\u00e1n\u00ed nov\u00fdch forem organizace, a t\u00edm i nov\u00fdch podob institucion\u00e1ln\u00ed praxe. Existence instituc\u00ed podporuj\u00edc\u00edch audiovizu\u00e1ln\u00ed um\u011bn\u00ed, \u010di naopak jejich absence, je tedy \u00fazce z\u00e1visl\u00e1 na dobov\u00fdch mo\u017enostech cirkulace pohybliv\u00e9ho obrazu, je\u017e se odv\u00edjej\u00ed od dostupn\u00fdch technologi\u00ed a p\u0159evl\u00e1daj\u00edc\u00edch spole\u010densko-politick\u00fdch podm\u00ednek.<\/span><\/p>\n

Na poli experiment\u00e1ln\u00ed filmov\u00e9 tvorby za\u010dala tato problematika vyvst\u00e1vat je\u0161t\u011b p\u0159ed roz\u0161\u00ed\u0159en\u00edm videoartu na konci 60. let. Podle um\u011blce a teoretika Stuarta Marshalla to byly pr\u00e1v\u011b aktivity americk\u00fdch experiment\u00e1ln\u00edch filma\u0159\u016f, kter\u00e9 slou\u017eily videoartov\u00fdm um\u011blc\u016fm jako vzor p\u0159i hled\u00e1n\u00ed nov\u00fdch model\u016f pro distribuci d\u011bl a organizaci vlastn\u00ed \u010dinnosti (Marshall, 1985). Americk\u00fd obchodn\u00edk s um\u011bn\u00edm Howard Wise v\u00a0roce 1970 zav\u0159el svoji newyorskou galerii, aby zalo\u017eil neziskovou organizaci Electronic Arts Intermix, je\u017e se za pades\u00e1t let sv\u00e9ho fungov\u00e1n\u00ed stala jednou z nejv\u00fdznamn\u011bj\u0161\u00edch instituc\u00ed pro distribuci, konzervaci a v\u00fdzkum medi\u00e1ln\u00edho um\u011bn\u00ed. Se stejn\u00fdm z\u00e1m\u011brem byla v roce 1976 zalo\u017eena tak\u00e9 platforma London Video Arts (dnes LUX) a n\u00e1sledn\u011b i organizace Montevideo v Amsterdamu \u010di Vtape v Torontu (Balsom, 2017). Tyto instituce maj\u00ed sv\u016fj p\u0159edobraz v modelu filmov\u00fdch spolk\u016f funguj\u00edc\u00edch na principu zpoplatn\u011bn\u00e9ho zap\u016fj\u010dov\u00e1n\u00ed sv\u011b\u0159en\u00fdch d\u011bl, kter\u00e9 se etablovaly po 2. sv\u011btov\u00e9 v\u00e1lce ve Spojen\u00fdch st\u00e1tech americk\u00fdch. Za historicky nejvlivn\u011bj\u0161\u00ed uskupen\u00ed lze v tomto ohledu pova\u017eovat skupinu americk\u00fdch filma\u0159\u016f New American Cinema Group, kter\u00e1 kr\u00e1tce po sv\u00e9m zalo\u017een\u00ed iniciovala vznik distribu\u010dn\u00edho dru\u017estva New York Film-Makers\u2019 Cooperative (Mekas, 2016). Rostouc\u00ed po\u010det d\u011bl, se kter\u00fdmi dru\u017estvo nakl\u00e1dalo, vyvolalo b\u011bhem n\u011bkolika let pot\u0159ebu ustanovit vlastn\u00ed instituci, kter\u00e1 by umo\u017enila necenzurovanou prezentaci a pozd\u011bji tak\u00e9 archivaci marginalizovan\u00e9ho experiment\u00e1ln\u00edho filmu. Kinot\u00e9ka newyorsk\u00e9ho filmov\u00e9ho dru\u017estva tak v roce 1970 z\u00edskala st\u00e1lou lokaci a institucionalizovala sv\u00e9 fungov\u00e1n\u00ed pod n\u00e1zvem Anthology Film Archives.<\/span><\/p>\n

Vedouc\u00ed osobnost\u00ed newyorsk\u00e9ho uskupen\u00ed a prvn\u00edm \u0159editelem Anthology Film Archives se stal Jonas Mekas, dnes ji\u017e legend\u00e1rn\u00ed p\u0159edstavitel pov\u00e1le\u010dn\u00e9 filmov\u00e9 avantgardy. Od po\u010d\u00e1tku sv\u00e9 kari\u00e9ry byl Mekas zast\u00e1ncem zp\u0159\u00edstupn\u011bn\u00ed filmov\u00e9ho um\u011bn\u00ed co nej\u0161ir\u0161\u00edmu spektru div\u00e1k\u016f, co\u017e se odrazilo i na fungov\u00e1n\u00ed Anthology Film Archives \u2013 vedle prom\u00edtac\u00edho s\u00e1lu zde bylo fungovalo i studijn\u00ed centrum (slou\u017e\u00edc\u00ed tak\u00e9 jako v\u00fdstavn\u00ed prostor), knihovna, konferen\u010dn\u00ed s\u00e1l a z\u00e1zem\u00ed pro dlouhodob\u00e9 uchov\u00e1n\u00ed film\u016f a dal\u0161\u00edch archivn\u00edch dokument\u016f. A\u010dkoliv si nov\u00e1 instituce osvojila \u0159adu tradi\u010dn\u00edch muzejn\u00edch funkc\u00ed, realita jej\u00edho provozu byla neform\u00e1ln\u00ed a zalo\u017een\u00e1 na (\u010dasto prekarizovan\u00e9) pr\u00e1ci um\u011bleck\u00e9 komunity. Provoz archivu je doposud financov\u00e1n ze soukrom\u00fdch i st\u00e1tn\u00edch dotac\u00ed, v\u00fdraznou \u010d\u00e1st p\u0159\u00edjmu v\u0161ak tvo\u0159\u00ed \u010dlensk\u00e9 p\u0159\u00edsp\u011bvky. Fungov\u00e1n\u00ed archivu Mekas zachycuje v dokumentu Laboratorium Anthology<\/i> z roku 1999, k\u00a0n\u011bmu\u017e velkou \u010d\u00e1st z\u00e1b\u011br\u016f po\u0159\u00eddil skladatel a filma\u0159 Auguste Varkalis. Laboratorium<\/i> p\u0159ipom\u00edn\u00e1 ikonick\u00e1 p\u0159edstaven\u00ed, je\u017e se v Archivu uskute\u010dnila, a z\u00e1rove\u0148 zprost\u0159edkov\u00e1v\u00e1 vhled do jeho z\u00e1kulis\u00ed. S\u00e1m Mekas v dokumentu nazna\u010duje, \u017ee po\u010d\u00e1tky Archivu se neobe\u0161ly bez kontroverz\u00ed a probl\u00e9m\u016f, je\u017e nej\u010dast\u011bji plynuly z nedostatku financ\u00ed \u010di spor\u016f o \u0159\u00edzen\u00ed instituce. Archiv \u010delil kritice tak\u00e9 kv\u016fli subjektivit\u011b krit\u00e9ri\u00ed, kter\u00fdmi se komise s Mekasem v \u010dele \u0159\u00eddila p\u0159i v\u00fdb\u011bru film\u016f do zvl\u00e1\u0161tn\u00edho programu Essential Cinema, jeho\u017e smyslem bylo p\u0159edstavit div\u00e1k\u016fm kanonick\u00e9 experiment\u00e1ln\u00ed filmy. Sou\u010d\u00e1st\u00ed zm\u00edn\u011bn\u00e9 komise nebyla \u017e\u00e1dn\u00e1 \u017eena a do v\u00fdb\u011bru se dostalo jen n\u011bkolik filma\u0159ek (Alfaro, 2012). P\u0159esto v\u0161ak nelze zpochybnit p\u0159\u00ednos Anthology Film Archives pro rozvoj filmu jako um\u011bn\u00ed, jak dokl\u00e1daj\u00ed v dokumentu zachycen\u00e9 sc\u00e9ny z p\u0159edstaven\u00ed Nam June Paika, Josepha Beuyse nebo Patti Smith \u010di \u00fasil\u00ed vynakl\u00e1dan\u00e9 p\u0159i konzervaci filmov\u00fdch p\u00e1s\u016f a dal\u0161\u00edch archivn\u00edch materi\u00e1l\u016f.<\/span><\/p>\n

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Jonas Mekas & Auguste Varkalis: Laboratorium Anthology (1999). Stream filmu prob\u011bhl 24. 05. 2020. Zkr\u00e1cenou verzi filmu lze shl\u00e9dnout na str\u00e1nk\u00e1ch jonasmekas.com<\/a>.<\/strong><\/p>\n


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Zalo\u017eit podobn\u00e9 uskupen\u00ed, jak\u00fdm byla americk\u00e1 New American Cinema Group, bylo v pov\u00e1le\u010dn\u00e9m \u010ceskoslovensku nemysliteln\u00e9. Nez\u00e1visl\u00e9 um\u011bleck\u00e9 spolky byly po roce 1948 zlikvidov\u00e1ny \u010di pod\u0159\u00edzeny \u00dast\u0159edn\u00edmu svazu \u010deskoslovensk\u00fdch v\u00fdtvarn\u00fdch um\u011blc\u016f, zat\u00edmco ideologick\u00fd dozor nad filmovou tvorbou vykon\u00e1val \u010ceskoslovensk\u00fd st\u00e1tn\u00ed film. Kr\u00e1tk\u00e9 obdob\u00ed uvol\u0148ov\u00e1n\u00ed a decentralizace vyst\u0159\u00eddala po roce 1968 nov\u00e1 vlna cenzury a stranick\u00e9ho dohledu nad kulturn\u00ed produkc\u00ed. \u0158ada v\u00fdznamn\u00fdch p\u0159edstavitel\u016f a p\u0159edstavitelek experiment\u00e1ln\u00ed um\u011bleck\u00e9 sc\u00e9ny emigrovala a ti, kdo z\u016fstali, se ocitli v izolaci a bez mo\u017enosti z\u00edskat pro svou tvorbu institucion\u00e1ln\u00ed podporu. St\u00e1tn\u00ed dohled nad um\u011bleck\u00fdmi uskupen\u00edmi, cenzura informac\u00ed, politick\u00e1 podpora tradi\u010dn\u00edch um\u011bleck\u00fdch \u017e\u00e1nr\u016f, nedostupnost za\u0159\u00edzen\u00ed pro z\u00e1znam a p\u0159ehr\u00e1v\u00e1n\u00ed videa \u2013 v\u0161echny tyto podm\u00ednky p\u0159isp\u011bly k tomu, \u017ee se tvorba videoartu v socialistick\u00e9m \u010ceskoslovensku institucion\u00e1ln\u011b nerozv\u00edjela tak, jako tomu bylo na Z\u00e1pad\u011b. V\u00fdraznou v\u00fdjimku p\u0159edstavovala tv\u016fr\u010d\u00ed skupina Independent video art Prague, kter\u00e1 vznikla pod Institutem pr\u016fmyslov\u00e9ho designu, a uskupen\u00ed Obor video, kter\u00e9 se utvo\u0159ilo v r\u00e1mci Svazu \u010desk\u00fdch v\u00fdtvarn\u00fdch um\u011blc\u016f a\u017e v roce 1987 (DEN VIDEA 1989\/ 2018, 2018).<\/span>\u00a0<\/span><\/p>\n

Jedn\u00edm z hlavn\u00edch d\u016fvod\u016f vzniku skupiny Obor video, kter\u00fd iniciovali um\u011blci Radek Pila\u0159 a Petr Skala, bylo zajistit institucion\u00e1ln\u00ed podporu technicky a finan\u010dn\u011b n\u00e1ro\u010dn\u00e9 videoartov\u00e9 tvorb\u011b. Z\u00e1kladn\u00ed my\u0161lenkou oboru bylo rozv\u00edjet pr\u00e1ci s m\u00e9diem videa nejen v um\u011bn\u00ed, ale tak\u00e9 v dal\u0161\u00edch kulturn\u00edch oblastech, a z\u00e1rove\u0148 udr\u017eovat v r\u00e1mci skupiny volnou tv\u016fr\u010d\u00ed atmosf\u00e9ru. A\u010dkoliv vnit\u0159n\u00ed fungov\u00e1n\u00ed Oboru umo\u017e\u0148ovalo svobodn\u00e9 experimentov\u00e1n\u00ed s pohybliv\u00fdm obrazem, vn\u011bj\u0161\u00ed aktivity byly st\u00e1le kontrolov\u00e1ny Svazem \u010desk\u00fdch v\u00fdtvarn\u00fdch um\u011blc\u016f. Prvn\u00ed prezentace skupiny s n\u00e1zvem Den videa, je\u017e prob\u011bhla v r\u00e1mci ofici\u00e1ln\u00edho Salonu u\u017eit\u00e9ho um\u011bn\u00ed v roce 1989, se tak neobe\u0161la bez cenzurn\u00edch z\u00e1sah\u016f \u2013 video Radka Pila\u0159e s n\u00e1zvem Zrcadlo \u010dasu<\/i> muselo b\u00fdt p\u0159edstaveno bez hudby Michaela Koc\u00e1ba a Michala Pavl\u00ed\u010dka, a\u010dkoliv tato hudebn\u00ed slo\u017eka tvo\u0159ila jeho podstatnou sou\u010d\u00e1st (Kerbachov\u00e1, 2006). Svazov\u00e1 agenda v oblasti kultury po desetilet\u00ed prote\u017eovala tradi\u010dn\u00ed um\u011bleck\u00e9 formy a n\u00e1m\u011bty, zat\u00edmco neo-avantgardn\u00ed tendence byly vytla\u010deny na periferii um\u011bleck\u00e9ho provozu.<\/span><\/p>\n

\u0158ada \u010dlen\u016f skupiny Obor video vych\u00e1zela ve sv\u00e9 tvorb\u011b z avantgardn\u00edch tendenc\u00ed a klasick\u00fdch um\u011bleck\u00fdch discipl\u00edn, kter\u00e9 kombinovala s animac\u00ed a filmovou grafikou. Radek Pila\u0159 vystudoval v 50. letech malbu na Akademii v\u00fdtvarn\u00fdch um\u011bn\u00ed a ve sv\u00fdch filmov\u00fdch experimentech b\u011b\u017en\u011b aplikoval v\u00fdtvarn\u00e9 postupy. Sv\u00e9bytn\u00e1 prov\u00e1zanost malby, fotografie, animace a videa je patrn\u00e1 na Pila\u0159ov\u011b prezentaci Zrcadla \u010dasu<\/i> v r\u00e1mci komplexn\u00ed instalace s n\u00e1zvem Zpr\u00e1va o stavu vod na \u010desk\u00fdch toc\u00edch<\/i>, je\u017e byla vytvo\u0159ena pro v\u00fdstavu Den videa. Zrcadlo \u010dasu b\u011b\u017eelo na t\u0159ech obrazovk\u00e1ch um\u00edst\u011bn\u00fdch ve v\u00fd\u0161ce o\u010d\u00ed, je\u017e byly ve spodn\u00ed \u010d\u00e1sti dopln\u011bny fotografiemi struktur ze zmuchlan\u00e9ho pap\u00edru a uprost\u0159ed fotografi\u00ed d\u011bv\u010d\u00e1tka s barevn\u00fdmi skvrnami. Cel\u00e1 instalace se odr\u00e1\u017eela v zrcadle polo\u017een\u00e9m na zemi p\u0159ed div\u00e1ky. V dokumentu Petra Skaly je Radek Pila\u0159 zachycen p\u0159i pr\u00e1ci na Zrcadle \u010dasu<\/i> a tyto z\u00e1b\u011bry jsou doprov\u00e1zeny koment\u00e1\u0159em, je\u017e vystihuje dobov\u00e9 pojet\u00ed oboru video na pomez\u00ed tradi\u010dn\u00edch \u017e\u00e1nr\u016f a nov\u00fdch technologi\u00ed; \u201eVideoart \u2013 nov\u00fd druh um\u011bn\u00ed vyjad\u0159uj\u00edc\u00ed se pomoc\u00ed elektronick\u00e9ho obrazu \u2026 modern\u00ed technika tak pronik\u00e1 do vysoce d\u016fstojn\u00e9ho a po stalet\u00ed nehybn\u00e9ho sv\u011bta obraz\u016f a soch, aby artefaktu dodala pohyb a \u010das.\u201c<\/span><\/p>\n

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Radek Pila\u0159 p\u0159i pr\u00e1ci na d\u00edle Zrcadlo \u010dasu<\/em> (1987\u20131991), screenshot z dokument\u00e1rn\u00edho sn\u00edmku Petra Skaly Videoart<\/em> (1990)<\/strong><\/p>\n

<\/figure>\n

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Vznik nez\u00e1visl\u00fdch platforem pro podporu audiovizu\u00e1ln\u00edho um\u011bn\u00ed byl v z\u00e1padn\u00edch zem\u00edch od 60. let spojen se zakl\u00e1d\u00e1n\u00edm nov\u00fdch univerzitn\u00edch obor\u016f a muzejn\u00edch odd\u011blen\u00ed (Alfaro, 2012). Z\u00e1sadn\u00ed reformu um\u011bleck\u00fdch instituc\u00ed v \u010ceskoslovensku p\u0159inesla a\u017e \u201esametov\u00e1 revoluce\u201c, co\u017e se v oblasti nov\u00fdch m\u00e9di\u00ed projevilo p\u0159edev\u0161\u00edm v\u00a0zakl\u00e1d\u00e1n\u00ed nov\u00fdch kateder na vysok\u00fdch um\u011bleck\u00fdch \u0161kol\u00e1ch. Po rozpadu centralizovan\u00e9ho Svazu \u010desk\u00fdch v\u00fdtvarn\u00fdch um\u011blc\u016f se um\u011bleck\u00e1 sc\u00e9na rozdrobila na men\u0161\u00ed uskupen\u00ed, ze kter\u00fdch se postupn\u011b etablovaly nez\u00e1visl\u00e9 v\u00fdstavn\u00ed prostory a organizace, je\u017e sice poskytly z\u00e1zem\u00ed pro prezentaci medi\u00e1ln\u00edho um\u011bn\u00ed, av\u0161ak s omezen\u00fdmi prost\u0159edky a jen pro \u00fazk\u00fd okruh div\u00e1k\u016f. Sb\u00edrkotvorn\u00e9 galerie po\u010daly za\u010dle\u0148ovat medi\u00e1ln\u00ed um\u011bn\u00ed do sv\u00fdch v\u00fdstavn\u00edch program\u016f; kv\u016fli chyb\u011bj\u00edc\u00ed erudici a infrastruktu\u0159e v\u0161ak doposud nep\u0159ijaly adekv\u00e1tn\u00ed strategie pro akvizice, v\u00fdzkum a konzervaci nov\u00fdch m\u00e9di\u00ed. P\u0159esto\u017ee jsou technologie pro nahr\u00e1v\u00e1n\u00ed a p\u0159enos pohybliv\u00e9ho obrazu st\u00e1le dostupn\u011bj\u0161\u00ed, kategorie \u201eum\u011bleck\u00e9ho videa\u201c se ocitla v jak\u00e9si institucion\u00e1ln\u00ed propasti mezi strukturami v\u00fdtvarn\u00e9ho a filmov\u00e9ho sv\u011bta, bez z\u00e1zem\u00ed ve vlastn\u00ed produk\u010dn\u00ed \u010di distribu\u010dn\u00ed platform\u011b. Fungov\u00e1n\u00ed na pomez\u00ed filmov\u00e9ho a v\u00fdtvarn\u00e9ho je v\u0161ak zn\u00e1m\u00e9 tak\u00e9 z\u00e1padn\u00edm um\u011blc\u016fm a um\u011blkyn\u00edm, nebo\u0165 tradi\u010dn\u00ed model zpoplatn\u011bn\u00e9ho zap\u016fj\u010dov\u00e1n\u00ed se v sou\u010dasnosti st\u00e1le \u010dast\u011bji m\u00eds\u00ed s dal\u0161\u00edmi zp\u016fsoby distribuce audiovizu\u00e1ln\u00edch d\u011bl \u2013 jako jsou DVD, licencovan\u00e9 edice, streamov\u00e1n\u00ed \u010di neautorizovan\u00e1 online cirkulace \u2013 \u010demu\u017e odpov\u00eddaj\u00ed tak\u00e9 r\u016fzn\u00e9 form\u00e1ty prezentace (Balsom, 2017). <\/span>\u00a0<\/span><\/p>\n

Krize spojen\u00e1 s pandemi\u00ed covid-19 je\u0161t\u011b usp\u00ed\u0161ila proces digitalizace um\u011bleck\u00e9ho sv\u011bta. Vzr\u016fstaj\u00edc\u00ed po\u010det online v\u00fdstav, datab\u00e1z\u00ed a port\u00e1l\u016f zve\u0159ej\u0148uje st\u00e1le v\u011bt\u0161\u00ed mno\u017estv\u00ed audiovizu\u00e1ln\u00edch d\u011bl, pro jejich\u017e sledov\u00e1n\u00ed ji\u017e nen\u00ed hlavn\u00edm krit\u00e9riem fyzick\u00e1 p\u0159\u00edtomnost div\u00e1k\u016f, ale jazykov\u00e9 znalosti a rychlost p\u0159ipojen\u00ed. Z mo\u017enosti online platforem voln\u011b p\u0159ekra\u010dovat n\u00e1rodn\u00ed hranice, a t\u00edm zapl\u0148ovat slep\u00e1 m\u00edsta ve sd\u00edlen\u00e9 kulturn\u00ed historii, vych\u00e1z\u00ed kur\u00e1torsk\u00e9 zam\u011b\u0159en\u00ed online platformy D\u2019EST, jej\u00ed\u017e vznik iniciovala kulturolo\u017eka a kur\u00e1torka Ulrike Gerhardt. V pr\u016fb\u011bhu roku 2018 tato platforma publikovala \u0161est prom\u00edtac\u00edch kapitol, je\u017e vznikly ve spolupr\u00e1ci s \u0159adou kur\u00e1torek a um\u011blky\u0148 poch\u00e1zej\u00edc\u00edch p\u0159ev\u00e1\u017en\u011b ze zem\u00ed \u201eb\u00fdval\u00e9ho V\u00fdchodu\u201c. D\u00edl\u010d\u00ed kapitoly p\u0159edstavily d\u00edla, je\u017e z feministick\u00fdch a kolektivn\u00edch pozic reflektuj\u00ed t\u00e9mata spojen\u00e1 s postsocialistickou transformac\u00ed, jako je nap\u0159\u00edklad v \u00favodu zm\u00edn\u011bn\u00e1 problematika ch\u00e1p\u00e1n\u00ed d\u011bjinnosti, jak vypl\u00fdv\u00e1 z ideologick\u00e9ho vztahu V\u00fdchodu a Z\u00e1padu. Toto specifick\u00e9 zam\u011b\u0159en\u00ed projektu D\u2019EST p\u0159isp\u011blo ke vzniku mezin\u00e1rodn\u00ed profesn\u00ed komunity, je\u017e prost\u0159ednictv\u00edm pohybliv\u00e9ho obrazu formuje kritickou reflexi sd\u00edlen\u00e9 historick\u00e9 zku\u0161enosti. V\u00fdzkumn\u00fd a komunitn\u00ed p\u0159esah platformy D\u2019EST je v\u0161ak ve sv\u011bt\u011b nov\u00fdch nadn\u00e1rodn\u00edch virtu\u00e1ln\u00edch galeri\u00ed v\u00fdjimkou, kter\u00e1 pokl\u00e1d\u00e1 podstatn\u00e9 ot\u00e1zky ohledn\u011b budouc\u00edho fungov\u00e1n\u00ed t\u011bchto platforem: Jak\u00fdm zp\u016fsobem a k\u00fdm m\u00e1 b\u00fdt obsah t\u011bchto online \u201egaleri\u00ed\u201c kur\u00e1torov\u00e1n? Komu je jejich program ur\u010den? A jak\u00e9 zp\u016fsoby produkce a distribuce d\u011bl umo\u017en\u00ed zajistit adekv\u00e1tn\u00ed finan\u010dn\u00ed podporu zastoupen\u00fdch um\u011blc\u016f a um\u011blky\u0148?<\/span><\/p>\n

 <\/p>\n

D’EST, Debates on Division: When Private Becomes Public, Anna Bitkina & Gluklya<\/strong><\/p>\n

<\/a><\/p>\n

 <\/p>\n

Mark\u00e9ta Jon\u00e1\u0161ov\u00e1<\/p>\n

 <\/p>\n

Zdroje:<\/strong><\/p>\n

Alfaro, K. (2012). Access and the experimental film: New technologies and anthology film archives institutionalization of the avant-garde. The Moving Image<\/i>, 12(1), 44\u201364.<\/p>\n

Balsom, E. (2017). After uniqueness: a history of film and video art in circulation<\/i>. New York: Columbia University Press.<\/p>\n

DEN VIDEA 1989\/ 2018 (2018). Den videa 1989\/ 2018: Prvn\u00ed skupinov\u00e1 v\u00fdstava \u010desk\u00e9ho videoartu<\/i>. Doprovodn\u00fd text k v\u00fdstav\u011b.<\/p>\n

Kerbachov\u00e1, B. (2006). Po\u010d\u00e1tky \u010desk\u00e9ho videoartu. Iluminace<\/i>, 18(2), 133\u2013158.<\/p>\n

Marshall, S. (1985). Video: from art to independence. Screen<\/i>, 26(2), 66\u201372.<\/p>\n

Meigh-Andrews, C. (2016). A history of video art. London: Bloomsbury.<\/p>\n

Mekas, J. R. (2016). Movie journal the rise of new American cinema, 1959-1971<\/i>. (G. R. Smulewicz-Zucker, Ed.). New York: Columbia University Press.<\/p>","protected":false},"excerpt":{"rendered":"

Kur\u00e1to\u0159i: Mark\u00e9ta Jon\u00e1\u0161ov\u00e1 a Tom\u00e1\u0161 Kaj\u00e1nek Online v\u00fdstavn\u00ed projekt s n\u00e1zvem Spolek p\u0159\u00e1tel pohybliv\u00e9ho obrazu p\u0159edstavuje historick\u00e9 i sou\u010dasn\u00e9 podoby kolektiv\u016f, jen\u017e vznikly za \u00fa\u010delem podpory produkce, prezentace a v\u00fdzkumu um\u011bleck\u00e9ho filmu a videoartu. Na z\u00e1klad\u011b srovn\u00e1n\u00ed t\u011bchto uskupen\u00ed projekt ukazuje, nakolik je vedle spole\u010dn\u00e9ho z\u00e1jmu o m\u00e9dium pohybliv\u00e9ho obrazu pro jejich fungov\u00e1n\u00ed z\u00e1sadn\u00ed tak\u00e9 […]<\/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-3595","post","type-post","status-publish","format-standard","hentry","category-archive"],"_links":{"self":[{"href":"https:\/\/etcgalerie.cz\/cs\/wp-json\/wp\/v2\/posts\/3595","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=3595"}],"version-history":[{"count":46,"href":"https:\/\/etcgalerie.cz\/cs\/wp-json\/wp\/v2\/posts\/3595\/revisions"}],"predecessor-version":[{"id":3981,"href":"https:\/\/etcgalerie.cz\/cs\/wp-json\/wp\/v2\/posts\/3595\/revisions\/3981"}],"wp:attachment":[{"href":"https:\/\/etcgalerie.cz\/cs\/wp-json\/wp\/v2\/media?parent=3595"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/etcgalerie.cz\/cs\/wp-json\/wp\/v2\/categories?post=3595"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/etcgalerie.cz\/cs\/wp-json\/wp\/v2\/tags?post=3595"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}