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\n<\/div><\/li>\n<\/ul>\n\n<\/div>\nhlavn\u00ed projekce: 20.9. 2022 od 18h<\/strong>, Sarajevsk\u00e1 16, Praha 2<\/div>\n\nonline na webu galerie: 21. – 28. 9. 2022<\/p>\n
Minority Report<\/strong><\/p>\n
Nejdiskutovan\u011bj\u0161\u00edm expon\u00e1tem newyorsk\u00e9ho Whitney Biennial se v\u00a0roce 1993 stal desetiminutov\u00fd amat\u00e9rsk\u00fd videoz\u00e1znam zachycuj\u00edc\u00ed brut\u00e1ln\u00ed policejn\u00ed z\u00e1krok proti Afroameri\u010danovi Rodneymu Kingovi, k\u00a0n\u011bmu\u017e do\u0161lo 3. b\u0159ezna 1991 v\u00a0Los Angeles. Dokumentaci cel\u00e9ho incidentu po\u0159\u00eddil pomoc\u00ed sv\u00e9 tehdy nov\u00e9 videokamery prodejce instalat\u00e9rsk\u00e9ho za\u0159\u00edzen\u00ed George Holliday z\u00a0oken sv\u00e9ho bytu. Pozornost v\u011bnovan\u00e1 jeho hojn\u011b reprodukovan\u00e9 stop\u00e1\u017ei se je\u0161t\u011b zost\u0159ila potom, co n\u00e1sleduj\u00edc\u00edho roku v\u00a0reakci na soudn\u00ed osvobozen\u00ed policejn\u00edch agresor\u016f vypukly v\u00a0Los Angeles masivn\u00ed rasov\u00e9 nepokoje. Pr\u00e1v\u011b v\u00a0takov\u00fdch souvislostech se kur\u00e1tor bien\u00e1le rozhodl nesest\u0159\u00edhan\u00e9 Hollidayovo video vystavit. Podle recenze v New York Times<\/em> doty\u010dn\u00fd z\u00e1znam nep\u0159edstavoval ani tak um\u011bleck\u00e9 d\u00edlo, jako p\u0159edev\u0161\u00edm dokument, kter\u00fd vnesl ot\u00e1zku rasismu do ka\u017ed\u00e9ho americk\u00e9ho ob\u00fdv\u00e1ku.[1]<\/a> Za\u00a0jeho za\u0159azen\u00edm p\u0159itom recenzentka spat\u0159ovala hlavn\u00ed \u00faskal\u00ed v\u00fdstavy, je\u017e se pr\u00fd v\u00edc ne\u017e na um\u011bn\u00ed soust\u0159ed\u00ed na \u201esamotnou dobu\u201c. , je\u017e zahrnovala i p\u00e1sky po\u0159\u00edzen\u00e9 v\u00a0r\u00e1mci kolektivn\u00edho medi\u00e1ln\u011b-aktivistick\u00e9ho projektu Gulf Crisis TV Project<\/em>, kter\u00fd se pokou\u0161el rozkr\u00fdvat r\u016fzn\u00e9 mocensk\u00e9 z\u00e1jmy za americkou intervenc\u00ed na Bl\u00edzk\u00e9m v\u00fdchod\u011b.[2]<\/a> Losangelesk\u00e1 recenzentka nadto citovala kur\u00e1tora bien\u00e1le, podle n\u011bho\u017e amat\u00e9rsk\u00fd videoz\u00e1znam nejen\u017ee dokl\u00e1d\u00e1 bezprecedentn\u00ed dostupnost dan\u00e9 technologie, ale poukazuje i na prob\u00edhaj\u00edc\u00ed p\u0159ehodnocen\u00ed medi\u00e1ln\u00edho um\u011bn\u00ed jako ve\u0159ejn\u00e9 um\u011bleck\u00e9 formy, kter\u00e1 roz\u0161i\u0159uje definici dokumentu.<\/p>\n
Inkriminovan\u00fd policejn\u00ed z\u00e1sah, respektive jeho z\u00e1znam, byl za\u010d\u00e1tkem devades\u00e1t\u00fdch let pova\u017eov\u00e1n za v\u00fdsostn\u011b \u201emedi\u00e1ln\u00ed\u201c historickou ud\u00e1lost. Podobn\u011b, by\u0165 v\u00a0o n\u011bco \u0161ir\u0161\u00edm m\u011b\u0159\u00edtku, se ostatn\u011b uva\u017eovalo o konfliktu v\u00a0Persk\u00e9m z\u00e1livu coby \u201eprvn\u00ed v\u00e1lce v\u00a0p\u0159\u00edm\u00e9m p\u0159enosu\u201c,[3]<\/a> anebo o \u201eprvn\u00ed televizn\u00ed revoluci\u201c, jak se ozna\u010doval rumunsk\u00fd st\u00e1tn\u00ed p\u0159evrat roku 1989.[4]<\/a> Jako takov\u00e9 se u\u017e ve sv\u00e9 dob\u011b do\u010dk\u00e1valy r\u016fzn\u00fdch reflex\u00ed i intervenc\u00ed. Mezi nimi lze vedle u\u017e zm\u00edn\u011bn\u00e9ho Gulf Crisis TV Project<\/em> p\u0159ipomenout k\u00a0rumunsk\u00e9 revoluci se vztahuj\u00edc\u00ed (a \u017e\u00e1nrov\u00e9 paradigma definuj\u00edc\u00ed) film Videogramy revoluce<\/em> Haruna Farocki a Andrei Ujic\u0103 z\u00a0roku 1992, kter\u00fd se vztahoval pr\u00e1v\u011b k\u00a0rumunsk\u00e9 revoluci a kter\u00fd sv\u00fdm zp\u016fsobem definoval \u017e\u00e1nrov\u00e9 paradigma.[5]<\/a> Na rozd\u00edl od takov\u00fdch po\u010din\u016f bylo Hollidayovo video po\u0159\u00edzeno bez jak\u00fdchkoli um\u011bleck\u00fdch z\u00e1m\u011br\u016f a ani jeho vznik nen\u00ed dost dob\u0159e mo\u017en\u00e9 popsat jako um\u011bleck\u00fd v\u00fdkon v\u00a0n\u011bjak\u00e9m siln\u00e9m slova smyslu. Tehdej\u0161\u00ed medi\u00e1ln\u00ed ekologie se n\u00e1m, sou\u010dasn\u00edk\u016fm tiktokov\u00fdch v\u00e1lek a spekulac\u00ed o sep\u011bt\u00ed 5G a Covid-19, jev\u00ed nutn\u011b pom\u011brn\u011b vzd\u00e1len\u00e1. P\u0159esto se domn\u00edv\u00e1m, \u017ee ono video d\u00edky sv\u00e9 prezentaci v\u00a0kontextu velk\u00e9 um\u011bleck\u00e9 p\u0159ehl\u00eddky p\u0159\u00edkladn\u011b vyjevuje nap\u011bt\u00ed, kter\u00e9 ustavuje alespo\u0148 ur\u010dit\u00fd v\u00fdsek pole, v\u00a0n\u011bm\u017e vznik\u00e1 soudob\u00e1 um\u011bleck\u00e1 produkce. Na mysli p\u0159itom m\u00e1m nap\u011bt\u00ed mezi um\u011bn\u00edm a d\u016fkazem, tedy mezi n\u011b\u010d\u00edm, co se (jako p\u0159edm\u011bt nezaujat\u00e9 libosti a svobodn\u00e9 hry pozn\u00e1vac\u00edch sil, jak \u0159\u00edk\u00e1val Kant) ke skute\u010dnosti vztahuje p\u0159edev\u0161\u00edm \u201ep\u0159\u00ed\u010dn\u011b\u201c, a n\u011b\u010d\u00edm, co do n\u00ed p\u0159\u00edmo zasahuje.<\/p>\n
V ozv\u011bn\u011b ohlas\u016f na zm\u00edn\u011bn\u00fd ro\u010dn\u00edk Whitney Biennial hl\u00e1sal tak\u00e9 titulek jist\u00e9 recenze p\u0159ehl\u00eddky Documenta 14, po\u0159\u00e1dan\u00e9 v\u00a0roce 2017 v\u00a0Kasselu, \u017ee nejd\u016fle\u017eit\u011bj\u0161\u00edm zde prezentovan\u00fdm d\u00edlem nebyla um\u011bleck\u00e1 pr\u00e1ce, ale d\u016fkaz.[6]<\/a> Takov\u00e9 tvrzen\u00ed odkazovalo k\u00a0t\u0159\u00edkan\u00e1lov\u00e9mu\u00a0videu nazvan\u00e9mu 77sqm_9:26min<\/em>, za kter\u00fdm st\u00e1lo v\u00fdzkumn\u011b-um\u011bleck\u00e9 uskupen\u00ed Forensic Architecture (FA) p\u016fsob\u00edc\u00ed p\u0159i lond\u00fdnsk\u00e9 Goldsmiths. Doty\u010dn\u00e9 video se vztahuje k\u00a0rasistick\u00e9 vra\u017ed\u011b Halita Yozgata, ji\u017e 6. dubna 2006 sp\u00e1chali \u010dlenov\u00e9 neonacistick\u00e9 teroristick\u00e9 skupiny Nationalsozialistischer Untergrund (NSU) v kasselsk\u00e9 internetov\u00e9 kav\u00e1rn\u011b. Video p\u0159edstavuje jeden z\u00a0v\u00fdstup\u016f vy\u0161et\u0159ov\u00e1n\u00ed, do n\u011bho\u017e se FA pustila z\u00a0podn\u011btu iniciativy Yozgatov\u00fdch poz\u016fstal\u00fdch, kte\u0159\u00ed pochybovali o nep\u0159edpojatosti policejn\u00edho postupu. Soust\u0159edila se p\u0159itom zejm\u00e9na na v\u00fdpov\u011b\u010f agenta hessensk\u00e9 zpravodajsk\u00e9 slu\u017eby Andrease Temmeho, kter\u00fd se v\u00a0dob\u011b vra\u017edy s\u00a0nejv\u011bt\u0161\u00ed pravd\u011bpodobnost\u00ed nach\u00e1zel na m\u00edst\u011b \u010dinu. Jeho \u00fa\u010dast lze pova\u017eovat za neuralgick\u00fd bod cel\u00e9 s\u00e9rie vra\u017ed p\u0159ipsan\u00fdch\u00a0NSU. Jednotliv\u00e9 p\u0159\u00edpady toti\u017e prov\u00e1zelo n\u00e1padn\u011b v\u00e1hav\u00e9 policejn\u00ed vy\u0161et\u0159ov\u00e1n\u00ed, kter\u00e9 se zdr\u00e1halo spojovat s\u00e9rii vra\u017ed s\u00a0rasistick\u00fdmi motivy, zat\u00edmco cel\u00e1 kauza nazna\u010dila i netu\u0161enou m\u00edru napojen\u00ed n\u011bmeck\u00fdch tajn\u00fdch slu\u017eeb na tamn\u00ed neonacistickou sc\u00e9nu. 77sqm_9:26min<\/em> p\u0159edstavuje pr\u016fb\u011bh i z\u00e1v\u011bry kontra-investigace podniknut\u00e9 FA, kter\u00e1 po vzoru policejn\u00edch rekonstrukc\u00ed ov\u011b\u0159ovala v\u011brohodnost Temmeho v\u00fdpov\u011bdi na modelov\u00e9m m\u00edst\u011b \u010dinu i v\u00a0\u0159ad\u011b digit\u00e1ln\u00edch simulac\u00ed.<\/p>\n
Nap\u011bt\u00ed mezi um\u011bn\u00edm a d\u016fkazem v\u00a0Kasselu d\u00edky p\u0159esn\u00e9mu zam\u011b\u0159en\u00ed a na\u010dasov\u00e1n\u00ed vyvst\u00e1valo tak\u0159ka hmatateln\u011b. Zat\u00edmco um\u011ble\u010dt\u00ed kritici mohli pochybovat o um\u011bleck\u00e9 povaze \u201ed\u016fkazn\u00edho\u201c videa, s\u00e1m Temme u soudu odm\u00edtal d\u016fkazy o sv\u00e9 k\u0159iv\u00e9 v\u00fdpov\u011bdi s\u00a0t\u00edm, \u017ee pr\u00e1ci FA je t\u0159eba pokl\u00e1dat p\u0159edev\u0161\u00edm za um\u011bleck\u00e9 d\u00edlo. Pokud se tato tenze v\u00a0p\u0159\u00edpad\u011b prve p\u0159ipom\u00ednan\u00e9ho zahrnut\u00ed Hollidayova videa do p\u0159ehl\u00eddky sou\u010dasn\u00e9ho um\u011bn\u00ed pojila v\u00a0prvn\u00ed \u0159ad\u011b s\u00a0eticky i esteticky ambivalentn\u00edm kur\u00e1torsk\u00fdm gestem, v\u00a0p\u0159\u00edstupu FA se systematicky kultivuje jako konstitutivn\u00ed \u201eproduktivn\u00ed paradox\u201c napjat\u00fd mezi estetikou a investigac\u00ed. Alespo\u0148 to tvrd\u00ed Eyal Weizman a Matthew Fuller ve sv\u00e9 ned\u00e1vn\u00e9 knize o \u201einvestigativn\u00ed estetice\u201c.[7]<\/a> Ta p\u0159edstavuje zat\u00edm posledn\u00ed artikulaci p\u0159\u00edstupu, kter\u00fd Weizman \u2013 spole\u010dn\u011b s\u00a0\u0159adou dal\u0161\u00edch spolupracovn\u00edk\u016f a spolupracovnic \u2013 dlouhodob\u011b rozv\u00edj\u00ed jako zakl\u00e1daj\u00edc\u00ed a vedouc\u00ed p\u0159edstavitel FA.<\/p>\n
Weizman s\u00a0Fullerem p\u0159edkl\u00e1daj\u00ed praxi \u201einvestigativn\u00ed estetiky\u201c jako intervenci do proces\u016f smyslov\u00e9ho vn\u00edm\u00e1n\u00ed (sensing<\/em>) a vytv\u00e1\u0159en\u00ed smyslu (sense-making<\/em>). Takov\u00fd estetick\u00fd re\u017eim zaji\u0161\u0165uje nejen ur\u010ditou distribuci vn\u00edmateln\u00e9ho a mysliteln\u00e9ho, o jak\u00e9 mluvil Jacques Ranci\u00e8re, ale sm\u011b\u0159uje i k\u00a0redistribuci schopnosti vn\u00edmat (sentience<\/em>) a schopnosti jednat (agency<\/em>). Tyto schopnosti se tentokr\u00e1t nevztahuj\u00ed v\u00fdlu\u010dn\u011b \u2013 a dokonce ani p\u0159ednostn\u011b \u2013 na individu\u00e1ln\u00ed lidsk\u00e9 subjekty. V\u00a0pojet\u00ed investigativn\u00ed estetiky nen\u00ed vn\u00edm\u00e1n\u00ed v\u00fdsadou \u017eiv\u00fdch organism\u016f. Oproti tomu se v\u00a0jist\u00e9m smyslu t\u00fdk\u00e1 ve\u0161ker\u00e9 hmoty, kter\u00e1 v\u00a0komplexn\u00edch technick\u00fdch asambl\u00e1\u017e\u00edch i v\u00a0ekosyst\u00e9mech, stejn\u011b jako v\u00a0jejich \u010detn\u00fdch pr\u016fse\u010d\u00edc\u00edch, p\u0159ij\u00edm\u00e1 stopy rozmanit\u00fdch proces\u016f. \u201eEstetick\u00e9 vy\u0161et\u0159ov\u00e1n\u00ed\u201c p\u0159itom nen\u00ed jen pr\u016fzkumem sv\u011bta, ale v\u017edy z\u00e1rove\u0148 i pr\u016fzkumem vlastn\u00edch postup\u016f a n\u00e1stroj\u016f, je\u017e se nesm\u00ed vzp\u00edrat p\u0159\u00edpadn\u00e9mu prov\u011b\u0159en\u00ed.<\/p>\n
Proponenti investigativn\u00ed estetiky uva\u017euj\u00ed o \u201eanti-hegemonn\u00edm vy\u0161et\u0159ov\u00e1n\u00ed\u201c, v\u00a0n\u011bm\u017e se r\u016fzn\u00e9 d\u00edl\u010d\u00ed z\u00e1znamy skl\u00e1daj\u00ed dohromady, a\u017e se st\u00e1vaj\u00ed sv\u00e9ho druhu sd\u00edlen\u00fdmi statky (commons<\/em>), na nich\u017e se pak podle nich mohou zakl\u00e1dat soudob\u00e9 \u201epolitiky pravdy\u201c. Takov\u00fd p\u0159\u00edstup se pokou\u0161\u00ed integrovat rozmanit\u00e9 akt\u00e9rsk\u00e9 perspektivy, ani\u017e by je homogenizoval. Vymezuje se tak v\u016f\u010di institucionalizovan\u00fdm m\u00f3d\u016fm vy\u0161et\u0159ov\u00e1n\u00ed na poli v\u011bdy i lidsk\u00fdch pr\u00e1v, ve kter\u00fdch experti vystupuj\u00ed jako \u201especializovan\u00ed arbit\u0159i pravdy\u201c a obh\u00e1jci \u201eliber\u00e1ln\u00edho epistemick\u00e9ho \u0159\u00e1du\u201c, aby autoritativn\u011b p\u0159edkl\u00e1dali sv\u016fj \u201epohled odnikud\u201c. Soub\u011b\u017en\u011b ale odm\u00edt\u00e1 tak\u00e9 pragmatick\u00fd cynismus \u201eanti-epistemolog\u016f\u201c, kte\u0159\u00ed se sice proti onomu liber\u00e1ln\u00edmu \u0159\u00e1du ok\u00e1zale ohrazuj\u00ed, ov\u0161em jen proto, aby mohli nab\u00eddnout vlastn\u00ed verzi p\u0159edp\u0159ipraven\u00e9 a nezpochybniteln\u00e9 pravdy.<\/p>\n
\u201eForenzn\u00ed obrat\u201c v\u00a0sou\u010dasn\u00e9m um\u011bn\u00ed, s jeho\u017e programovou artikulac\u00ed p\u0159ich\u00e1z\u00ed pr\u00e1v\u011b investigativn\u00ed estetika, se v\u011bdom\u011b rozv\u00edj\u00ed v\u00a0situaci, pro ni\u017e se ned\u00e1vno v\u017eila ozna\u010den\u00ed post-pravdiv\u00e1 \u010di post-faktick\u00e1. Pokud um\u011bleck\u00e1 praxe p\u0159edstavuje sv\u00e9bytn\u00fd zp\u016fsob pozn\u00e1n\u00ed a v\u011bd\u011bn\u00ed, m\u016f\u017ee se potenci\u00e1ln\u011b st\u00e1vat prost\u0159edkem intervence do zp\u016fsob\u016f, jak\u00fdmi se vytv\u00e1\u0159\u00ed, \u0161\u00ed\u0159\u00ed a p\u0159ij\u00edm\u00e1 v\u011bd\u011bn\u00ed o sv\u011bt\u011b. Nezbytn\u011b p\u0159itom mus\u00ed man\u00e9vrovat v\u00a0p\u0159eskupuj\u00edc\u00edch se konfigurac\u00edch, v\u00a0nich\u017e se sp\u00e1j\u00ed v\u011bd\u011bn\u00ed a moc, a to v\u010detn\u011b vlastn\u00edho (ne)v\u011bd\u011bn\u00ed a (bez)moci.<\/p>\n
Konspira\u010dn\u00ed imperativ do your own research<\/em>, podle n\u011bho\u017e jsou v\u0161ichni pochybova\u010di nab\u00e1d\u00e1ni k\u00a0vlastn\u00edmu v\u00fdzkumu (nejl\u00e9pe v\u00a0lepkav\u00fdch vl\u00e1knech internetov\u00fdch f\u00f3r a vir\u00e1ln\u00edch vide\u00ed), nab\u00edz\u00ed pod zd\u00e1n\u00edm vzdoru p\u0159edev\u0161\u00edm konformitu v\u016f\u010di st\u00e1vaj\u00edc\u00edm pom\u011br\u016fm. Zapl\u0148uje p\u0159itom, jakkoli neuspokojiv\u011b, prohlubuj\u00edc\u00ed se trhlinu mezi adekv\u00e1tn\u00edm pozn\u00e1n\u00edm a vlastn\u00ed zku\u0161enost\u00ed. Takov\u00e1 zku\u0161enost p\u0159itom nen\u00ed v\u00a0\u0159ad\u011b p\u0159\u00edpad\u016f dost dob\u0159e mo\u017en\u00e1, a\u0165 u\u017e z\u00a0d\u016fvodu neviditeln\u00e9 \u010di rozpt\u00fdlen\u00e9 povahy environment\u00e1ln\u00edho n\u00e1sil\u00ed, anebo kv\u016fli nejr\u016fzn\u011bj\u0161\u00edm opat\u0159en\u00edm, jejich\u017e \u00fa\u010delem je zakr\u00fdv\u00e1n\u00ed politick\u00e9ho a lidskopr\u00e1vn\u00edho \u00fatlaku.<\/p>\n
Tak\u00e9 forenzn\u011b-um\u011bleck\u00e1 praxe pak rozv\u00edj\u00ed \u201evlastn\u00ed v\u00fdzkum\u201c. Oproti konspiruj\u00edc\u00edm anti-epistemolog\u016fm se v\u0161ak li\u0161\u00ed jak postojem k\u00a0fakt\u016fm, tak politickou subjektivitou, ji\u017e aktivn\u011b spoluutv\u00e1\u0159\u00ed. Nab\u00edz\u00ed p\u0159itom n\u011bco, \u010demu by se spolu s kanadskou histori\u010dkou Michelle Murphy dalo \u0159\u00edkat \u201ekontra-expert\u00edza\u201c.[8]<\/a> V\u00a0jej\u00edm r\u00e1mci se zku\u0161enost r\u016fzn\u00fdch sebe-organizuj\u00edc\u00edch se akt\u00e9r\u016f a akt\u00e9rek pomoc\u00ed rozmanit\u00fdch n\u00e1stroj\u016f p\u0159ekl\u00e1d\u00e1 do jazyka, jen\u017e m\u016f\u017ee vyz\u00fdvat zd\u00e1nliv\u011b nedotknuteln\u00e9 amalg\u00e1my v\u011bd\u011bn\u00ed a moci. Investigativn\u00ed estetika se hl\u00e1s\u00ed k\u00a0nietzscheovsk\u00e9mu perspektivismu, nejpr\u016frazn\u011bji shrnut\u00e9mu v\u00a0tvrzen\u00ed, \u017ee \u201eneexistuj\u00ed fakta, jen interpretace\u201c. To neznamen\u00e1 pop\u00edr\u00e1n\u00ed fakt\u016f, ale odm\u00edtnut\u00ed jejich metafyzick\u00e9 autority. Sna\u017e\u00ed se proto vytv\u00e1\u0159et, \u0159e\u010deno s\u00a0Fullerem a Weizmanem, \u201epoly-perspektivn\u00ed asambl\u00e1\u017ee otev\u0159en\u00fdch epistemick\u00fdch a estetick\u00fdch . V\u00a0nich pak mohou psanci t\u00e9to zem\u011b navazovat spojenectv\u00ed s\u00a0t\u011bmi, kdo si n\u00e1rokuj\u00ed \u201ep\u0159\u00edstup k\u00a0n\u00e1stroj\u016fm\u201c, stejn\u011b jako veter\u00e1ni v\u011bdeck\u00fdch v\u00e1lek s dezert\u00e9ry z\u00a0v\u00e1lek kulturn\u00edch.<\/p>\n
Weizman a Fuller zasazuj\u00ed projekt investigativn\u00ed estetiky do r\u00e1mce epistemick\u00e9 provincializace Z\u00e1padu \u010di glob\u00e1ln\u00edho Severu. V\u00a0tomto ohledu by se jejich v\u00fdklady mohly p\u0159\u00edpadn\u011b vztahovat i na dal\u0161\u00ed ned\u00e1vn\u00e9 um\u011bleck\u00e9 po\u010diny. Mezi n\u011b p\u0159\u00edkladn\u011b pat\u0159\u00ed i dvojkan\u00e1lov\u00e9 video Ursuly Biemann nazvan\u00e9 Forest Law<\/em> z\u00a0roku 2014, p\u0159ipraven\u00e9 ve spolupr\u00e1ci s\u00a0brazilsk\u00fdm architektem Paolo Tavaresem, mimochodem spolupracovn\u00edkem FA. Forest Law<\/em> pod\u00e1v\u00e1 zpr\u00e1vu o soudn\u00edm sporu mezi domorod\u00fdmi obyvateli pralesn\u00edho teritoria Sarayka a st\u00e1tem Ekv\u00e1dor, kter\u00fd \u010delil \u017ealob\u011b za napom\u00e1h\u00e1n\u00ed t\u011b\u017eb\u011b ropy na dan\u00e9m \u00fazem\u00ed. Od roku 2002 zde zahrani\u010dn\u00ed ropn\u00e9 spole\u010dnosti umis\u0165ovaly v\u00fdbu\u0161niny u\u017e\u00edvan\u00e9 p\u0159i seismick\u00fdch pr\u016fzkumech podlo\u017e\u00ed. U soudu se nevyjedn\u00e1valo jen o vin\u011b a nevin\u011b, ale o uzn\u00e1n\u00ed ur\u010dit\u00e9, s\u00a0kapitalistick\u00fdm extraktivismem nesourod\u00e9 kosmologie. P\u0159ipom\u00edn\u00e1 se tu pojem \u201eepistemicidy\u201c, se kter\u00fdm p\u0159i\u0161el Boaventura de Sousa Santos, aby popsal destrukci r\u016fzn\u00fdch lok\u00e1ln\u00edch m\u00f3d\u016f pozn\u00e1n\u00ed a v\u011bd\u011bn\u00ed, k\u00a0n\u00ed\u017e doch\u00e1z\u00ed v\u00a0pokra\u010duj\u00edc\u00edch koloni\u00e1ln\u00edch projektech.[9]<\/a> Jak b\u011bhem procesu uvedl p\u0159izvan\u00fd antropolog Rodrigo Villagra Carre\u00f3n: \u201eV lese \u017eije mnoho bytost\u00ed. Z pozice\u00a0metafyzick\u00e9ho materialismu to nejsp\u00ed\u0161 ned\u00e1v\u00e1 moc smysl, ale je to v\u00a0souladu s\u00a0epistemologi\u00ed p\u016fvodn\u00edch obyvatel. […] Mluv\u00edme o kosmu jako o vnit\u0159n\u011b spojit\u00e9 multiplicit\u011b \u2013 el kawsak sacha<\/em>, \u017eivouc\u00edm lese. Nach\u00e1z\u00ed se tu podzemn\u00ed m\u011bsta i bytosti p\u0159eb\u00fdvaj\u00edc\u00ed ve vod\u011b a tyto bytosti jsou ve spojen\u00ed s\u00a0\u0161amany.\u201c[10]<\/a> Tento soudn\u00ed spor, spolu s\u00a0\u0159adou obdobn\u00fdch, pak p\u0159isp\u011bl k\u00a0p\u0159ijet\u00ed nov\u00e9 ekv\u00e1dorsk\u00e9 \u00fastavy v\u00a0roce 2008, kter\u00e1 p\u0159izn\u00e1v\u00e1 pr\u00e1vn\u00ed subjektivitu ekosyst\u00e9m\u016fm, jako jsou lesy, hory, \u0159eky a mo\u0159e.[11]<\/a> Biemann ostatn\u011b svoji pr\u00e1ci popisuje jako \u201egeomorfn\u00ed video\u201c, jeho\u017e protagonistou se st\u00e1v\u00e1 samotn\u00e1 krajina, j\u00ed\u017e bylo dosud vyhrazov\u00e1no m\u00edsto pasivn\u00edho pozad\u00ed.[12]<\/a> Kdy\u017e potom v\u00a0jej\u00edm videu \u0161uarsk\u00fd \u0161aman kdesi v pralese klade na plastov\u00fd st\u016fl r\u016fzn\u00e9 l\u00e9\u010div\u00e9 rostliny, odkr\u00fdv\u00e1 praktickou taxonomii odli\u0161nou od t\u00e9 botanick\u00e9, a z\u00e1rove\u0148 jako by p\u0159edkl\u00e1dal d\u016fkazy o tom, \u017ee jin\u00fd sv\u011bt je nejen mo\u017en\u00fd, ale \u017ee je i mo\u017en\u00e9 ho neni\u010dit.<\/p>\n
Navzdory kulturn\u00ed vzd\u00e1lenosti, kter\u00e1 d\u011bl\u00ed Kassel a Ekv\u00e1dor, n\u00e1padn\u011b vystupuj\u00ed paralely mezi p\u0159\u00edstupem investigativn\u00ed estetiky a amerindi\u00e1nsk\u00fdmi kosmologiemi. Analogicky 77sqm_9:26min<\/em> a Forest Law<\/em> nespojuje jen z\u00e1jem o konkr\u00e9tn\u00ed p\u0159\u00edpady rasov\u00e9ho a\/nebo environment\u00e1ln\u00edho n\u00e1sil\u00ed a n\u00e1vazn\u00e9 pr\u00e1vn\u00ed spory. Vedle p\u0159edstavy sv\u011bta ob\u00fdvan\u00e9ho vn\u00edmaj\u00edc\u00edmi a jednaj\u00edc\u00edmi nejen lidsk\u00fdmi entitami, kde v\u0161echno potenci\u00e1ln\u011b disponuje o\u010dima a rukama, je to i n\u011bco, co bychom snad mohli ozna\u010dit jako polyekr\u00e1nov\u00fd perspektivismus. Pokud se investigativn\u00ed estetika hl\u00e1s\u00ed k\u00a0perspektivismu podle Nietzscheho, podle Biemann m\u00e1 v\u00edcen\u00e1sobn\u00e1 projekce ve form\u00e1ln\u00ed rovin\u011b odpov\u00eddat \u201eamerindi\u00e1nsk\u00e9mu perspektivismu\u201c, jak ho popisuje brazilsk\u00fd antropolog Eduardo Viveiros de Castro.[13]<\/a> Jak v\u00a0koment\u00e1\u0159i k\u00a0Forest Law<\/em> poznamenal T. J. Demos, na rozd\u00edl od z\u00e1padn\u00edch epistemologi\u00ed, kter\u00e9 stav\u00ed na rozli\u0161en\u00ed mezi lidmi a p\u0159\u00edrodou, p\u0159izn\u00e1vaj\u00ed amerindi\u00e1nsk\u00e9 epistemologie ne-lidsk\u00fdm \u017eivotn\u00edm form\u00e1m pr\u00e1vn\u00ed a politickou agenci. V\u00fdznam sarayacko-ekv\u00e1dorsk\u00e9 kauzy pak dalece p\u0159esahuje hranice doty\u010dn\u00e9ho teritoria. Podle Demose nezbytn\u00e9 \u201ekonceptu\u00e1ln\u00ed znovuvynalezen\u00ed p\u0159\u00edrody\u201c, ve kter\u00e9m se nehraje o nic men\u0161\u00edho ne\u017e o \u201epoliticko-filosofickou revoluci, kter\u00e1 prom\u011bn\u00ed n\u00e1\u0161 vztah ke sv\u011btu\u201c.[14]<\/a> Pokud si investigativn\u00ed estetika vyty\u010duje za c\u00edl vynal\u00e9z\u00e1n\u00ed nov\u00fdch forem politiky, s\u00a0Biemann, Demosem a obyvateli Sarayaka by se dalo mluvit jak o nov\u00fdch pr\u00e1vn\u00edch form\u00e1ch, tak o nov\u011b rozpozn\u00e1van\u00fdch sv\u011btech. Demos z\u00e1rove\u0148 p\u0159ipom\u00edn\u00e1, \u017ee kdyby se revolu\u010dn\u00ed c\u00edle z\u00e1pasu o \u201epr\u00e1va p\u0159\u00edrody\u201c nemohly op\u0159\u00edt o soci\u00e1ln\u00ed hnut\u00ed, hroz\u00ed jim p\u00e1d do pouh\u00e9ho leg\u00e1ln\u00edho idealismu. Mimod\u011bk tak upozor\u0148uje na z\u0159ejm\u011b nejambici\u00f3zn\u011bj\u0161\u00ed moment \u201eforenzn\u00edho um\u011bn\u00ed\u201c, kter\u00fd spo\u010d\u00edv\u00e1 v\u00a0p\u0159\u00edslibu vytv\u00e1\u0159en\u00ed nov\u00fdch, inkluzivn\u00edch spole\u010denstv\u00ed. Co z\u00a0jeho post\u0159ehu pro takov\u00e9 um\u011bn\u00ed vypl\u00fdv\u00e1, z\u016fst\u00e1v\u00e1 otev\u0159eno. Prozat\u00edm se zd\u00e1, \u017ee pravda nesm\u00ed zv\u00edt\u011bzit, pokud by to znamenalo jej\u00ed zkamen\u011bn\u00ed, a \u017ee o skute\u010dnost je t\u0159eba se starat.<\/p>\n
Vojt\u011bch M\u00e4rc<\/p>\n
[1]<\/a> Roberta Smith, \u201eAt the Whitney, a Biennial with Social Conscience\u201c, New York Times<\/em>, 5. 3. 1993, https:\/\/www.nytimes.com\/1993\/03\/05\/arts\/at-the-whitney-a-biennial-with-a-social-conscience.html<\/a>.<\/p>\n
[2]<\/a> Suzanne Muchnic, \u201eKing Beating Footage Comes to the Art World\u201c, Los Angeles Times<\/em>, 10. 3. 1993, https:\/\/www.latimes.com\/archives\/la-xpm-1993-03-10-ca-1355-story.html<\/a>.<\/p>\n
[3]<\/a> Jean Baudrillard, La Guerre du Golfe n\u2019a pas eu lieu<\/em>, Paris: Galile\u0301e, 1991.<\/p>\n
[4]<\/a> Keiko Sei (ed.), Von der B\u00fcrokratie zur Telekratie: Rum\u00e4nien in Fernsehen<\/em>, Berlin: Merve, 1990.<\/p>\n
[5]<\/a> Eva Kernbauer, \u201eEstablishing Belief: Harun Farocki and Andrei Ujica, Videograms of a Revolution\u201c, Grey Room<\/em>, 2010, \u010d. 41, s. 72\u201387.<\/p>\n
[6]<\/a> Hili Perlson, \u201eThe Most Important Piece at documenta 14 in Kassel Is Not an Artwork. It\u2019s Evidence.\u201c, 8. 6. 2017, news.artnet.com\/art-world\/documenta-14-kassel-forensic-nsu-trial-984701<\/a>.<\/p>\n
[7]<\/a> Matthew Fuller \u2013 Eyal Weizman, Investigative Aesthetics: Conflicts and Commons in the Politics of Truth<\/em>, London: Verso, 2021.<\/p>\n
[8]<\/a> Michelle Murphy, Sick Building Syndrome and the Problem of Uncertainty: Environmental Politics, Technoscience, and Women Workers<\/em>, Durham, NC: Duke University Press, 2006.<\/p>\n
[9]<\/a> Boaventura de Sousa Santos, Epistemologies of the South: Justice Against Epistemicide<\/em>, Boulder: Paradigm Publishers, 2013.<\/p>\n
[10]<\/a> Ursula Bieman \u2013 Paulo Tavares, \u201eThe Forest Court\u201c, in Ashkan Sepahvand \u2013 Nata\u0161a Petre\u0161in-Bachelez \u2013 Nora Razian (eds.), Elements for a World: Wood<\/em>, Beirut: Sursock Museum, 2016, s. 20\u201325.<\/p>\n
[11]<\/a> Michel Serres, Le Contrat Naturel<\/em>, Paris: F. Bourin, 1990.<\/p>\n
[12]<\/a> Ursula Biemann, \u201eGeomorphic Video\u201c, in Jens Andermann \u2013 Lisa Blackmore \u2013 Dayron Carrillo Morell (eds.), Natura \u2013 Environmental Aesthetics After Landscape<\/em>, Berlin: Diaphanes, 2018, s. 31\u201349.<\/p>\n
[13]<\/a> https:\/\/geobodies.org\/art-and-videos\/forest-law\/<\/a>. Eduardo Viveiros de Castro, Cannibal Metaphysics: For a Post-structural Anthropology<\/em>, Minneapolis, MN: Univocal, 2014.<\/p>\n
[14]<\/a> T. J. Demos, \u201eRights of Nature: The Art and Politics of Earth Jurisprudence\u201c, 2015, https:\/\/cpb-us-e1.wpmucdn.com\/sites.ucsc.edu\/dist\/0\/196\/files\/2015\/10\/Demos-Rights-of-Nature-2015.compressed.pdf<\/a>.<\/p>\n
\nkur\u00e1to\u0159i: Tom\u00e1\u0161 Kaj\u00e1nek, Vojt\u011bch M\u00e4rc
\nautor eseje: Vojt\u011bch M\u00e4rc
\nprodukce: Anna Davidov\u00e1, Nela Klajbanov\u00e1
\ngrafika: Nela Kl\u00edmov\u00e1
\np\u0159eklad: Jan Ciosk, Drahom\u00edra Rezkov\u00e1
\ntitulky: Zbyn\u011bk Grepl
\nkorektury: Michal Jurza<\/p>\n<\/div>\n\nProjekt vznikl za finan\u010dn\u00ed podpory Ministerstva kultury \u010cR, Magistr\u00e1tu hl. m. Prahy a Nadace Rosy Luxemburgov\u00e9.<\/p>\n<\/div>\n<\/div>\n
<\/p>","protected":false},"excerpt":{"rendered":"
hlavn\u00ed projekce: 20.9. 2022 od 18h, Sarajevsk\u00e1 16, Praha 2 online na webu galerie: 21. – 28. 9. 2022 Minority Report Nejdiskutovan\u011bj\u0161\u00edm expon\u00e1tem newyorsk\u00e9ho Whitney Biennial se v\u00a0roce 1993 stal desetiminutov\u00fd amat\u00e9rsk\u00fd videoz\u00e1znam zachycuj\u00edc\u00ed brut\u00e1ln\u00ed policejn\u00ed z\u00e1krok proti Afroameri\u010danovi Rodneymu Kingovi, k\u00a0n\u011bmu\u017e do\u0161lo 3. b\u0159ezna 1991 v\u00a0Los Angeles. Dokumentaci cel\u00e9ho incidentu po\u0159\u00eddil pomoc\u00ed sv\u00e9 tehdy […]<\/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-5110","post","type-post","status-publish","format-standard","hentry","category-archive"],"_links":{"self":[{"href":"https:\/\/etcgalerie.cz\/cs\/wp-json\/wp\/v2\/posts\/5110","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=5110"}],"version-history":[{"count":14,"href":"https:\/\/etcgalerie.cz\/cs\/wp-json\/wp\/v2\/posts\/5110\/revisions"}],"predecessor-version":[{"id":5355,"href":"https:\/\/etcgalerie.cz\/cs\/wp-json\/wp\/v2\/posts\/5110\/revisions\/5355"}],"wp:attachment":[{"href":"https:\/\/etcgalerie.cz\/cs\/wp-json\/wp\/v2\/media?parent=5110"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/etcgalerie.cz\/cs\/wp-json\/wp\/v2\/categories?post=5110"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/etcgalerie.cz\/cs\/wp-json\/wp\/v2\/tags?post=5110"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}