{"id":1016,"date":"2013-05-09T18:09:54","date_gmt":"2013-05-09T16:09:54","guid":{"rendered":"http:\/\/michalscollection.cz\/?p=1016"},"modified":"2013-05-10T11:14:20","modified_gmt":"2013-05-10T09:14:20","slug":"temne-hlubiny-stesti","status":"publish","type":"post","link":"https:\/\/michalscollection.cz\/?p=1016","title":{"rendered":"TEMN\u00c9 HLUBINY \u0160T\u011aST\u00cd"},"content":{"rendered":"<p><strong>Ale\u0161 Br\u00e1zdil, Jan Gemrot, Martin K\u00e1men, Ond\u0159ej Oliva, R\u00f3bert Pal\u00fach, David Saudek, Pavel Va\u0161\u00ed\u010dek<br \/>\nKur\u00e1tor: Rea Michalov\u00e1<\/p>\n<p>Novom\u011bstsk\u00e1 radnice<br \/>\nVodi\u010dkova 1<br \/>\nPraha 2<\/p>\n<p>8. 5. \u2013 16. 6. 2013<\/strong><\/p>\n<div data-configid=\"2440438\/2403962\" style=\"width: 587px; height: 215px;\" class=\"issuuembed\"><\/div>\n<p><script type=\"text\/javascript\" src=\"\/\/e.issuu.com\/embed.js\" async=\"true\"><\/script><br \/>ngg_shortcode_0_placeholder\n<p>Pro v\u00fdstavn\u00ed projekt, kter\u00fd jsem nazvala \u201eTemn\u00e9 hlubiny \u0161t\u011bst\u00ed\u201c, jsem oslovila sedm v\u00fdznamn\u00fdch p\u0159edstavitel\u016f sou\u010dasn\u00e9 um\u011bleck\u00e9 sc\u00e9ny. Ale\u0161 Br\u00e1zdil, Jan Gemrot, David Saudek a Pavel Va\u0161\u00ed\u010dek reprezentuj\u00ed individu\u00e1ln\u011b rozr\u016fzn\u011bn\u00e9 mal\u00ed\u0159sk\u00e9 p\u0159\u00edstupy, sahaj\u00edc\u00ed od hyperrealistick\u00e9 a realistick\u00e9 tvorby a\u017e k\u00a0expresivn\u00edmu, barokizuj\u00edc\u00edmu v\u00fdrazu \u010di konceptu\u00e1ln\u011bji zam\u011b\u0159en\u00e9 linii. Martin K\u00e1men, ze zastoupen\u00fdch um\u011blc\u016f nejv\u00edce n\u00e1zorov\u011b postmodern\u00ed,\u00a0 zpracov\u00e1v\u00e1 sv\u00e9 n\u00e1m\u011bty jako aran\u017eovan\u00e9 fotografie.\u00a0 Sochy a instalace prezentuj\u00ed Ond\u0159ej Oliva a R\u00f3bert Pal\u00fach.<\/p>\n<p>P\u0159i p\u0159\u00edprav\u011b t\u00e9matu pro tuto v\u00fdstavu jsem z\u00e1m\u011brn\u011b nezvolila konflikt\u00a0politick\u00fd nebo aktu\u00e1ln\u011b spole\u010densk\u00fd, ale v\u00a0protikladu k\u00a0trend\u016fm jsem se rozhodla pro motiv\u00a0 v\u00a0pravd\u011b existencion\u00e1ln\u00ed. Projekt \u201eTemn\u00e9 hlubiny \u0161t\u011bst\u00ed\u201c reflektuje v\u011b\u010dnou rovnov\u00e1hu sil ve vesm\u00edru. Zrcadl\u00ed fakt, \u017ee oba extr\u00e9my jednoho d\u011bje se nal\u00e9zaj\u00ed ve stejn\u00e9m bod\u011b v \u010dasoprostoru. Z\u00e1nik je sou\u010dasn\u011b r\u016fstem, okam\u017eik\u00a0 \u0161t\u011bst\u00ed je z\u00e1rove\u0148 momentem hr\u016fzy. Tento p\u0159\u00edrodn\u00ed i filozofick\u00fd, snad jedin\u00fd v\u0161eobecn\u011b platn\u00fd princip, p\u0159edstavuje jednu z\u00a0mo\u017en\u00fdch cest k pochopen\u00ed vlastn\u00ed existence. P\u0159ijet\u00edm takov\u00e9ho pozn\u00e1n\u00ed se st\u00e1v\u00e1me samostatnou entitou anebo, snad lidov\u011b \u0159e\u010deno, dosp\u011bl\u00fdm jedincem. Schopnost pro\u017e\u00edvat \u0161t\u011bst\u00ed je spjata se schopnost\u00ed sn\u00e1\u0161et jeho ztr\u00e1tu a s\u00a0n\u00ed spojenou bolest, co\u017e ve sv\u00e9 jednot\u011b vyjad\u0159uje hlubiny lidsk\u00e9 osobnosti.<\/p>\n<p>\u201eKa\u017ed\u00fd \u010dlov\u011bk chce b\u00fdt \u0161\u0165astn\u00fd, ale aby se \u0161\u0165astn\u00fdm stal, je t\u0159eba, aby nejprve v\u011bd\u011bl, co \u0161t\u011bst\u00ed je.\u201c J. J. Rousseau (1712-1778)<\/p>\n<p>Je p\u0159\u00edzna\u010dn\u00e9, \u017ee jen m\u00e1lo pojm\u016f z\u00a0oblasti etiky je\u00a0v\u00a0b\u011b\u017en\u00e9m jazyce tak frekventovan\u00fdch jako term\u00edn \u201e\u0161t\u011bst\u00ed\u201c. Odborn\u00e1 literatura se mu naproti tomu a\u017e do ned\u00e1vna v\u00a0podstat\u011b vyh\u00fdbala. Jednu z prvn\u00edch psychologick\u00fdch prac\u00ed o \u0161t\u011bst\u00ed a \u0161\u0165astn\u00fdch lidech p\u0159edstavuje studie Warnera Wilsona z\u00a0roku 1967. Ten \u201etypicky \u0161\u0165astn\u00e9ho \u010dlov\u011bka\u201c charakterizoval jako \u201emlad\u00e9ho, zdrav\u00e9ho, s dobr\u00fdm vzd\u011bl\u00e1n\u00edm, dob\u0159e finan\u010dn\u011b ohodnocen\u00e9ho, dru\u017en\u00e9ho, optimistick\u00e9ho, bezstarostn\u00e9ho, \u017eij\u00edc\u00edho v\u00a0partnersk\u00e9m svazku, s vysokou sebe\u00factou, p\u0159im\u011b\u0159en\u00fdmi aspiracemi, r\u016fznou m\u00edrou inteligence a bez ohledu na pohlav\u00ed\u201c (tud\u00ed\u017e b\u011b\u017en\u011b dan\u00e9 objektivn\u00ed podm\u00ednky).<\/p>\n<p>V\u00a0nov\u00e9m mil\u00e9niu se etablovala \u201ev\u011bda o \u0161t\u011bst\u00ed\u201c (\u201escience of happiness\u201c), av\u0161ak zkoum\u00e1 se sp\u00ed\u0161e \u201ewell-being\u201c, psychick\u00fd stav pohody \u010di soci\u00e1ln\u00ed stav blahobytu. Jako zdroje osobn\u00ed pohody b\u00fdvaj\u00ed uv\u00e1d\u011bny faktory demografick\u00e9 a socioekonomick\u00e9, osobnostn\u00ed dispozice (genetick\u00e9 p\u0159edur\u010den\u00ed), soci\u00e1ln\u00ed vztahy a shoda mezi osobn\u00edm o\u010dek\u00e1v\u00e1n\u00edm a skute\u010dnost\u00ed. Proto\u017ee \u0161t\u011bst\u00ed z\u00e1vis\u00ed i na vn\u011bj\u0161\u00edch okolnostech, m\u016f\u017ee se st\u00e1t re\u00e1ln\u011b nedosa\u017eiteln\u00fdm. Tato vazba vn\u00e1\u0161\u00ed do problematiky \u0161t\u011bst\u00ed prvky tragi\u010dna.<\/p>\n<p>\u201eKdo mluv\u00ed o \u0161t\u011bst\u00ed, m\u00e1 \u010dasto smutn\u00e9 o\u010di.\u201c Louis Aragon (1897-1982)<\/p>\n<p>V\u00a0posledn\u00edch letech se v\u011bdci soust\u0159edili na ot\u00e1zku \u201ev\u00edce blahobytu, av\u0161ak nikoli v\u00edce \u0161t\u011bst\u00ed\u201c, nebo\u0165 a\u010dkoli se v\u00a0posledn\u00edm p\u016flstolet\u00ed mnohon\u00e1sobn\u011b zlep\u0161ily \u017eivotn\u00ed podm\u00ednky, lid\u00e9 se \u0161\u0165astn\u011bj\u0161\u00edmi nestali. P\u0159\u00edmo \u00fam\u011brn\u011b k\u00a0tomu, jak v hyperkonzumn\u00ed spole\u010dnosti trh st\u00e1le l\u00e9pe uspokojuje osobn\u00ed pot\u0159eby, vzr\u016fst\u00e1 nespokojenost jedince se sebou sam\u00fdm. Gilles Lipovetsky p\u0159\u00edzna\u010dn\u011b hovo\u0159\u00ed o \u201eparadoxn\u00edm \u0161t\u011bst\u00ed\u201c. Dne\u0161n\u00ed \u010dlov\u011bk ve svrchovan\u00e9 m\u00ed\u0159e konzumuje k\u00a0oslnivosti doveden\u00fd spekt\u00e1kl o \u0161t\u011bst\u00ed celebrit. Tradi\u010dn\u00ed logiku zast\u00edr\u00e1n\u00ed nahrazuje ostentativn\u00ed p\u0159edv\u00e1d\u011bn\u00ed v\u00fdjime\u010dn\u00fdch podm\u00ednek a n\u00e1sledn\u00e9ho \u0161t\u011bst\u00ed.\u00a0 Av\u0161ak za \u201et\u0159pytivou\u201c pod\u00edvanou se otev\u00edraj\u00ed nedoz\u00edrn\u00e9 propasti\u2026 \u201eKultura \u0161t\u011bst\u00ed\u201c, v\u00a0d\u016fsledku zv\u00fd\u0161en\u00fdch n\u00e1rok\u016f na to, jak\u00fd b\u00fdt a jak se jevit, zneu\u017e\u00edv\u00e1 stav hypermobilizace a stresu. Pod dominantou \u201edespotick\u00e9 radosti\u201c triumfuje nespokojenost a frustrace z absence euforick\u00fdch pro\u017eitk\u016f. Pr\u00e1v\u011b proto projevuje ve\u0159ejnost velk\u00fd z\u00e1jem o zpr\u00e1vy, jak se u obdivovan\u00fdch osobnost\u00ed \u0161t\u011bst\u00ed zvrhne. Jak o p\u0159ihl\u00ed\u017een\u00ed ne\u0161t\u011bst\u00ed pravil ji\u017e Lucretius, v\u00a0tu chv\u00edli je pot\u011b\u0161uj\u00edc\u00ed sledovat, jak\u00fdch tr\u00fdzn\u00ed jsme sami u\u0161et\u0159eni.<\/p>\n<p>\u0160t\u011bst\u00ed jako spole\u010densk\u00fd ide\u00e1l se za\u010dalo prosazovat ji\u017e na po\u010d\u00e1tku 20. stolet\u00ed, ale v\u00a0hierarchii hodnot a ve spole\u010densk\u00fdch norm\u00e1ch mu bylo p\u0159i\u0159knuto a\u017e druh\u00e9 m\u00edsto, podrobeno vy\u0161\u0161\u00edmu \u0159\u00e1du mor\u00e1lky a povinnosti. Ve druh\u00e9 polovin\u011b 20. stolet\u00ed rozlo\u017eila logika masov\u00e9 spot\u0159eby mravou\u010dn\u00e1 k\u00e1z\u00e1n\u00ed a ustavila kulturu, v\u00a0n\u00ed\u017e \u0161t\u011bst\u00ed v\u00edt\u011bz\u00ed nad mor\u00e1ln\u00edm kodexem. \u201e\u0160t\u011bst\u00ed anebo nic\u201c. Z\u00a0m\u00e9ho pohledu, je-li \u0161t\u011bst\u00ed stavem, kdy na\u0161e pot\u0159eby jsou beze zbytku napln\u011bny, pat\u0159\u00ed mezi n\u011b zajist\u00e9 i mor\u00e1ln\u00ed zadostiu\u010din\u011bn\u00ed.<\/p>\n<p>Toto filozofov\u00e1n\u00ed bych zakon\u010dila slovy: \u201e\u0160t\u011bst\u00ed nepoch\u00e1z\u00ed z velikosti \u017eivota, ale z jeho mal\u00fdch a osv\u011b\u017euj\u00edc\u00edch v\u011bc\u00ed, kter\u00e9 se mus\u00ed p\u011bstovat a vyhled\u00e1vat&#8230; Ostatn\u011b &#8211; \u0161t\u011bst\u00ed nemus\u00ed b\u00fdt ni\u010d\u00edm vesel\u00fdm a bla\u017een\u00fdm, jsem si skoro jist, \u017ee \u0161t\u011bst\u00ed mohou b\u00fdt velk\u00e1 a tragick\u00e1 jako um\u011bleck\u00e1 d\u00edla.\u201c Karel \u010capek (1890-1938)<\/p>\n<p>Ale\u0161 Br\u00e1zdil p\u0159edstavuje soubor obraz\u016f \u201eBez n\u00e1zvu\u201c, v n\u011bm\u017e se oproti trochu ironick\u00e9mu titulu projevuje siln\u00e1 liter\u00e1rn\u00ed inspirace. Ve srovn\u00e1n\u00ed s\u00a0jeho p\u0159edchoz\u00ed, m\u00e9n\u011b \u201epopisnou\u201c tvorbou, je vystaven\u00fd cyklus krokem, kdy se jeho t\u00e9m\u011b\u0159 nekomentovan\u00e9 obrazy v\u00e1\u017e\u00ed s\u00a0p\u0159ekvapivou m\u00edrou up\u0159\u00edmnosti k\u00a0hlavn\u00edm inspira\u010dn\u00edm zdroj\u016fm jeho um\u011bleck\u00e9 pr\u00e1ce.<\/p>\n<p>Jan Gemrot vystavuje cyklus uveden\u00fd mottem \u201ePravdu nebo m\u00edr?\u201c, v\u00a0n\u011bm\u017e rezonuje t\u00e9matika existenci\u00e1ln\u00ed i sexu\u00e1ln\u00ed. Zvl\u00e1\u0161t\u011b bych cht\u011bla upozornit na pl\u00e1tno \u201eV ponorce\u201c, kde autor fascinuj\u00edc\u00edm zp\u016fsobem spojuje obraz \u201ez\u00a0n\u00e1mo\u0159nick\u00e9ho manu\u00e1lu\u201c s\u00a0le\u017e\u00edc\u00ed postavou, jako v\u00a0rakvi. Existuje mnoho odkaz\u016f vztahuj\u00edc\u00edch se k\u00a0potopen\u00ed ponorky na dno jako symbolu osam\u011bn\u00ed a zmaru. P\u0159esto toto d\u00edlo sp\u00ed\u0161e uklid\u0148uje jistou hravost\u00ed a vyt\u0159\u00edben\u00fdm vkusem, se kter\u00fdm autor propojil chmurnou inspiraci a sv\u00e9 velmi sv\u011b\u017e\u00ed vid\u011bn\u00ed sv\u011bta.<\/p>\n<p>Martin K\u00e1men pojmenoval sv\u016fj nov\u00fd, sofistikovn\u011b komponovan\u00fd soubor fotografii\u00ed \u201eBlack as Sin\u201c. Neot\u0159el\u00fdm a svi\u017en\u00fdm pohledem v\u00a0n\u011bm zac\u00edlil na symboliku smrteln\u00fdch h\u0159\u00edch\u016f, kter\u00fdm podl\u00e9haj\u00ed jednotliv\u00e9 typy osobnost\u00ed dle esoterick\u00e9 tradice enneagramu. Vn\u00edm\u00e1m tento cyklus jako t\u00e9m\u011b\u0159 podv\u011bdomou inspiraci \u201ealej\u00ed\u201c h\u0159\u00edch\u016f na z\u00e1mku Kuks, kterou jsme p\u0159ed n\u011bkolika lety spole\u010dn\u011b obdivovali.<\/p>\n<p>Ond\u0159ej Oliva prezentuje cyklus \u201e(An)organic\u201c, vystihuj\u00edc\u00ed v\u011b\u010dn\u00fd souboj organick\u00e9 a anorganick\u00e9 hmoty. V\u00a0jeho d\u00edlech se mistrn\u011b snoub\u00ed technicistn\u00ed dokonalost s\u00a0tektonikou \u017eiv\u00fdch forem. Nejnov\u011bj\u0161\u00ed objekty \u201eTvor mu\u017e\u201c, \u201eTvor \u017eena\u201c jsou pravd\u011bpodobn\u011b v\u00a0jeho pr\u00e1ci nejkonceptu\u00e1ln\u011bj\u0161\u00ed. Dokonalost socha\u0159sk\u00e9ho tvaru se v\u00a0jednom m\u00edst\u011b transformuje do pohledu do \u201e\u00fatrob\u201c a ladnost a kr\u00e1sa se m\u011bn\u00ed v\u00a0nebezpe\u010d\u00ed, a\u017e zk\u00e1zu.<\/p>\n<p>R\u00f3bert Pal\u00fach ztv\u00e1r\u0148uje v souboru objekt\u016f \u201eBalance\u201c s\u00a0velkou m\u00edrou invence protiklady pohybu a klidu, struktury a chaosu, a zejm\u00e9na onoho vratk\u00e9ho bodu rovnov\u00e1hy mezi nimi. Sv\u00fdmi monument\u00e1ln\u00edmi realizacemi, kter\u00e9 p\u0159esahuj\u00ed do mnohov\u00fdznamovosti, prokazuje neoby\u010dejnou citlivost a schopnost prot\u00ednat sch\u00e9mata. V\u00a0nov\u00e9 realizaci \u201eSebereflexe\u201c opou\u0161t\u00ed materi\u00e1l kart\u00e1\u010d\u016f a vytv\u00e1\u0159\u00ed typicky symbolick\u00fd objekt, balancuj\u00edc\u00ed mezi 80. l\u00e9ty a \u201ehistorizuj\u00edc\u00edm slohem\u201c.<\/p>\n<p>David Saudek uv\u00e1d\u00ed premi\u00e9ru cyklu \u201eR\u00e1ny t\u011bla, r\u00e1ny mysli\u201c, v\u00a0n\u011bm\u017e origin\u00e1ln\u00edm zp\u016fsobem srovn\u00e1v\u00e1 nesrovnateln\u00e9 \u2013 posti\u017een\u00ed ducha a fyzi\u010dna. Jako ve sv\u00e9 p\u0159edchoz\u00ed tvorb\u011b komponuje sv\u00e9 obrazy ze\u00a0soci\u00e1ln\u011b-demografick\u00fdch sond. Tyto v\u00fdsledky zjednodu\u0161uje a p\u0159ev\u00e1d\u00ed na symboly, tedy vlastn\u011b na ur\u010dit\u00fd druh univerz\u00e1ln\u00ed \u0159e\u010di. Dal\u0161\u00ed vystaven\u00e1 pl\u00e1tna jsou \u201eglosami protiklad\u016f\u201c, k\u00a0\u010demu\u017e poukazuj\u00ed ironicky citovan\u00e9 symboly.<\/p>\n<p>Pavel Va\u0161\u00ed\u010dek nazval svou s\u00e9rii obraz\u016f podle \u00fast\u0159edn\u00edho d\u00edla \u201eS v\u011bdom\u00edm v\u00a0bezv\u011bdom\u00ed\u201c, kter\u00e9 vypov\u00edd\u00e1 o stavu v\u011bdom\u00ed \u010dlov\u011bka v\u00a0dne\u0161n\u00ed dob\u011b. Autor\u00a0 se zde p\u0159ikl\u00e1n\u00ed k\u00a0daleko surre\u00e1ln\u011bj\u0161\u00ed form\u011b s\u00a0d\u016frazem na existencion\u00e1ln\u00ed motiv. Po del\u0161\u00ed dob\u011b m\u016f\u017eeme na jeho pl\u00e1tnech vid\u011bt re\u00e1ln\u00e9 tv\u00e1\u0159e a tak\u00e9 si snadn\u011bji jednotliv\u00e9 symboly odvozovat. Sami posoud\u00edte, \u017ee to je p\u0159\u00edjemnou zm\u011bnou a p\u0159\u00ednosem.<br \/>\n<em>Rea Michalov\u00e1<\/em><\/p>\n<p><strong>Ale\u0161 Br\u00e1zdil \/1983\/<\/strong><br \/>\n2003 \u2013 2009 Akademie v\u00fdtvarn\u00fdch um\u011bn\u00ed v\u00a0Praze (Ateli\u00e9r klasick\u00fdch mal\u00ed\u0159sk\u00fdch technik prof. Zde\u0148ka Berana)<\/p>\n<p><strong>Jan Gemrot \/1983\/<\/strong><br \/>\n2002 \u2013 2008 Akademie v\u00fdtvarn\u00fdch um\u011bn\u00ed v\u00a0Praze (Ateli\u00e9r klasick\u00fdch mal\u00ed\u0159sk\u00fdch technik prof. Zde\u0148ka Berana)<\/p>\n<p><strong>Martin K\u00e1men \/1982\/<\/strong><br \/>\n2003 \u2013 2008 Akademie v\u00fdtvarn\u00fdch um\u011bn\u00ed v\u00a0Praze (Ateli\u00e9r Nov\u00e1 m\u00e9dia II. Veroniky Bromov\u00e9)<\/p>\n<p><strong>Ond\u0159ej Oliva \/1982\/<\/strong><br \/>\n2005 \u2013 2010 Akademie v\u00fdtvarn\u00fdch um\u011bn\u00ed v\u00a0Praze (Ateli\u00e9r Socha\u0159stv\u00ed I. Jaroslava R\u00f3ny)<\/p>\n<p><strong>R\u00f3bert Pal\u00fach \/1985\/<\/strong><br \/>\n2004 \u2013 2010 Akademie v\u00fdtvarn\u00fdch um\u011bn\u00ed v\u00a0Praze (Ateli\u00e9r Socha\u0159stv\u00ed I., 2004-2005 prof. Jan Koblasa, 2005-2010\u00a0 Jaroslav R\u00f3na)<\/p>\n<p><strong>David Saudek \/1966\/<\/strong><br \/>\n1991 \u2013 1997 Akademie v\u00fdtvarn\u00fdch um\u011bn\u00ed v\u00a0Praze (Ateli\u00e9r socha\u0159stv\u00ed prof. Stanislava Kol\u00edbala, Ateli\u00e9r nov\u00fdch m\u00e9di\u00ed prof. Michaela Bielick\u00e9ho)<\/p>\n<p><strong>Pavel Va\u0161\u00ed\u010dek \/1979\/<\/strong><br \/>\n2000 \u2013 2006 Akademie v\u00fdtvarn\u00fdch um\u011bn\u00ed v\u00a0Praze (Ateli\u00e9r klasick\u00fdch mal\u00ed\u0159sk\u00fdch technik prof. Zde\u0148ka Berana)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Ale\u0161 Br\u00e1zdil, Jan Gemrot, Martin K\u00e1men, Ond\u0159ej Oliva, R\u00f3bert Pal\u00fach, David Saudek, Pavel Va\u0161\u00ed\u010dek Kur\u00e1tor: Rea Michalov\u00e1 Novom\u011bstsk\u00e1 radnice Vodi\u010dkova 1 Praha 2 8. 5. \u2013 16. 6. 2013 Pro v\u00fdstavn\u00ed projekt, kter\u00fd jsem nazvala \u201eTemn\u00e9 hlubiny \u0161t\u011bst\u00ed\u201c, jsem oslovila sedm v\u00fdznamn\u00fdch p\u0159edstavitel\u016f sou\u010dasn\u00e9 um\u011bleck\u00e9 sc\u00e9ny. Ale\u0161 Br\u00e1zdil, Jan Gemrot, David Saudek a Pavel Va\u0161\u00ed\u010dek [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-1016","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/michalscollection.cz\/index.php?rest_route=\/wp\/v2\/posts\/1016","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/michalscollection.cz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/michalscollection.cz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/michalscollection.cz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/michalscollection.cz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1016"}],"version-history":[{"count":8,"href":"https:\/\/michalscollection.cz\/index.php?rest_route=\/wp\/v2\/posts\/1016\/revisions"}],"predecessor-version":[{"id":1027,"href":"https:\/\/michalscollection.cz\/index.php?rest_route=\/wp\/v2\/posts\/1016\/revisions\/1027"}],"wp:attachment":[{"href":"https:\/\/michalscollection.cz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1016"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/michalscollection.cz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1016"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/michalscollection.cz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1016"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}