{"id":508,"date":"2010-07-09T13:54:43","date_gmt":"2010-07-09T11:54:43","guid":{"rendered":"http:\/\/michalscollection.cz\/?p=508"},"modified":"2010-07-09T13:54:43","modified_gmt":"2010-07-09T11:54:43","slug":"letni-koktejl-2010","status":"publish","type":"post","link":"https:\/\/michalscollection.cz\/?p=508","title":{"rendered":"Letn\u00ed koktejl 2010"},"content":{"rendered":"<p><strong>30. 6. \u2013 3. 9. 2010<\/strong><\/p>ngg_shortcode_0_placeholder<p>Sou\u010dasnou \u010deskou v\u00fdtvarnou sc\u00e9nu charakterizuje \u0161irok\u00e9 spektrum um\u011bleck\u00fdch p\u0159\u00edstup\u016f, kter\u00e9 ve sv\u00e9 tvorb\u011b uplat\u0148uj\u00ed auto\u0159i mlad\u00e9 a st\u0159edn\u00ed generace. Tato \u0161k\u00e1la sah\u00e1 od rozv\u00edjen\u00ed princip\u016f klasick\u00e9 malby, s reflex\u00ed nov\u00e9 postmedi\u00e1ln\u00ed kultury, p\u0159es koncept, instalaci a vyu\u017eit\u00ed nov\u00fdch m\u00e9di\u00ed. Uk\u00e1zalo se, \u017ee i v dne\u0161n\u00ed dob\u011b, kdy na n\u00e1s \u00fato\u010d\u00ed \u201eagresivn\u00ed\u201c vizu\u00e1ln\u00ed informace ze v\u0161ech stran, tradi\u010dn\u00ed v\u00fdtvarn\u00e9 prost\u0159edky, mal\u00ed\u0159stv\u00ed a socha\u0159stv\u00ed, neztr\u00e1cej\u00ed na p\u0159ita\u017elivosti (jak pro tv\u016frce, tak pro div\u00e1ka). Postupn\u00e9 odkr\u00fdv\u00e1n\u00ed jednotliv\u00fdch v\u00fdznamov\u00fdch vrstev obrazu m\u00edrn\u00ed zrychlen\u00e9 tempo doby a mo\u017en\u00e1 na chv\u00edli zastavuje tok ne\u00faprosn\u00e9ho \u010dasu. Dne\u0161n\u00ed mal\u00ed\u0159i vol\u00ed v\u00fdrazov\u00fd slovn\u00edk, jen\u017e odpov\u00edd\u00e1 jejich osobn\u00ed jedine\u010dnosti a individualit\u011b. V tomto \u201ekaleidoskopu\u201c je ka\u017ed\u00fd jen s\u00e1m za sebe, mus\u00ed obst\u00e1t silou sv\u00e9 um\u011bleck\u00e9 v\u00fdpov\u011bdi. Z\u00e1rove\u0148 tvo\u0159\u00ed jeden ze \u201est\u0159\u00edpk\u016f\u201c prom\u011bnliv\u00e9ho, polyvalentn\u00edho celku, v n\u011bm\u017e lze p\u0159esto rozeznat ur\u010dit\u00e9 tendence, vypl\u00fdvaj\u00edc\u00ed z vliv\u016f um\u011bleck\u00fdch \u0161kol a jejich ateli\u00e9r\u016f, z genera\u010dn\u00ed p\u0159\u00edslu\u0161nosti a konvergence um\u011bleck\u00fdch c\u00edl\u016f.<br \/>\nV\u00fdstava LETN\u00cd KOKTEJL vych\u00e1z\u00ed z poststrukturalistick\u00e9 p\u0159edstavy um\u011bn\u00ed jako otev\u0159en\u00e9 struktury, struktury, kter\u00e1 je v pohybu, kter\u00e1 se d\u011bje. Jinak \u0159e\u010deno, odvol\u00e1v\u00e1 se na pojet\u00ed um\u011bn\u00ed jako \u201ejazykov\u00e9 hry\u201c, je\u017e st\u00e1le p\u0159ich\u00e1z\u00ed s ne\u010dekan\u00fdm. Proto tak\u00e9 nepreferuje jedno kur\u00e1torsky vymezen\u00e9 t\u00e9ma, ale nech\u00e1v\u00e1 prostor pro obsahovou i form\u00e1ln\u00ed pluralitu v\u00fdtvarn\u00fdch sd\u011blen\u00ed prezentovan\u00fdch um\u011blc\u016f.<br \/>\nV osobit\u00fdch d\u00edlech Romana Franty (1962) se \u201ezabydleli\u201c brouci, kte\u0159\u00ed se v r\u016fzn\u00fdch kontextech a konotac\u00edch st\u00e1vaj\u00ed z\u00e1kladn\u00edm stavebn\u00edm prvkem p\u0159ekvapiv\u00fdch obrazov\u00fdch kompozic. Jan Gemrot (1983) odhaluje psychologii \u010dlov\u011bka v mezn\u00edch situac\u00edch a jeho brilantn\u00ed mal\u00ed\u0159sk\u00fd rukopis souzn\u00ed s preciznost\u00ed um\u011bleck\u00e9 my\u0161lenky. Exaltovan\u00e9 a apelativn\u00ed obrazy Martina Gerboce (1971) jsou provokativn\u00edmi hesly, sondami do dezintegruj\u00edc\u00edho se sv\u011bta v d\u016fsledku deformovan\u00e9 politiky, sociologie, psychologie. Patrik H\u00e1bl (1975) spojuje ve sv\u00e9m meditativn\u011b odst\u00edn\u011bn\u00e9m d\u00edle percepci p\u0159\u00edrodn\u00edho sv\u011bta se svou vnit\u0159n\u00ed viz\u00ed a dosp\u00edv\u00e1 a\u017e k abstrahovan\u00fdm, poeticky k\u0159ehk\u00fdm kompozic\u00edm barevn\u00fdch soustav. Jakub Hub\u00e1lek (1983) rozv\u00edj\u00ed sv\u00e9 kresebn\u00e9 v\u00fdchodisko v obrazech interi\u00e9r\u016f a ve figur\u00e1ln\u00edch kompozic\u00edch, v nich\u017e analyzuje sv\u011bt \u201eteenagera\u201c s jeho postoji, preferencemi a ide\u00e1ly. Sv\u00e9bytn\u00e1 stylizace a monochromn\u00ed zelen\u00e1 barevnost podtrhuj\u00ed intenzivn\u00ed psychologick\u00fd \u00fa\u010din obraz\u016f. Jakub Janovsk\u00fd (1984) na sebe upoutal pozornost realizacemi figur\u00e1ln\u00edch, \u201edelirantn\u00edch\u201c n\u00e1st\u011bnn\u00fdch kreseb v opu\u0161t\u011bn\u00fdch objektech i prostorech galeri\u00ed a podn\u011bty z art brut, graffiti a dal\u0161\u00edch fenom\u00e9n\u016f (tetov\u00e1n\u00ed) reflektuje tak\u00e9 v mal\u00ed\u0159sk\u00e9 tvorb\u011b. Martin Krajc (1984) buduje velkorys\u00fdm, expresivn\u00edm, \u017eiveln\u00fdm mal\u00ed\u0159sk\u00fdm rukopisem nov\u00fd \u010dasoprostor, v n\u011bm\u017e o\u017e\u00edvaj\u00ed n\u00e1znaky p\u0159\u00edb\u011bh\u016f a otev\u00edraj\u00ed se mo\u017enosti nov\u00fdch asociac\u00ed. Alena Kup\u010d\u00edkov\u00e1 (1976) sv\u00fdmi unik\u00e1tn\u00edmi, subtiln\u00edmi \u201eChlupaticemi\u201c, \u201ekresbami\u201c z chloupk\u016f intimn\u00edho \u017eensk\u00e9ho a mu\u017esk\u00e9ho ochlupen\u00ed a zv\u00ed\u0159ec\u00ed srsti, otev\u00edr\u00e1 nov\u00e9 horizonty \u017eensk\u00e9ho pohledu na erotick\u00e9 t\u00e9ma v um\u011bn\u00ed, v protikladu s d\u0159\u00edve dominantn\u00edm mu\u017esk\u00fdm pohledem. Problematiku kr\u00e1sn\u00e9ho obrazu i estetiku \u201edivnosti\u201c zpracov\u00e1v\u00e1 bravurn\u00ed, hyperrealistickou malbou s rozs\u00e1hl\u00fdm t\u00e9matick\u00fdch rejst\u0159\u00edkem Marek Slav\u00edk (1982). Dom\u00e9nou Petry \u0160imkov\u00e9 (1976) je experiment\u00e1ln\u00ed fotografie, v n\u00ed\u017e sugestivn\u00ed a magickou hrou sv\u011bteln\u00fdch kontrast\u016f zpracov\u00e1v\u00e1 t\u00e9ma mizen\u00ed a op\u011btovn\u00e9ho nal\u00e9z\u00e1n\u00ed sebe sama. Transponuje klasickou fotografii do nov\u00fdch sf\u00e9r. V hyperrealistick\u00fdch a realistick\u00fdch, mistrn\u011b podan\u00fdch figur\u00e1ln\u00edch kompozic\u00edch uplat\u0148uje Mark\u00e9ta Urbanov\u00e1 (1978) smysl pro monumentalitu a bohatstv\u00ed symbolick\u00fdch v\u00fdznam\u016f. Paraleln\u011b se jej\u00ed k\u0159ehk\u00e1 citlivost reflektuje v krajinomalb\u011b, kterou nov\u011b poj\u00edm\u00e1 v rovin\u011b kontrastn\u00edho v\u00fdtvarn\u00e9ho spojen\u00ed. Malba je pro \u0160imona Vahalu (1978) jednou z v\u00edce oblast\u00ed, v nich\u017e rozehr\u00e1v\u00e1 sv\u016fj mnohostrann\u00fd v\u00fdtvarn\u00fd talent. Podn\u011bty z objektivn\u00ed skute\u010dnosti a psychick\u00e9 zku\u0161enosti p\u0159etavuje v p\u0159esv\u011bd\u010divou sum\u00e1rn\u00ed vizi. Citliv\u00e1 a nezam\u011bniteln\u00e1 mal\u00ed\u0159sk\u00e1 poetika krajinn\u00e9ho \u010di figur\u00e1ln\u00edho t\u00e9matu obraz\u016f Jaroslava Vale\u010dky (1972) sm\u011b\u0159uje k symbolistn\u00ed v\u00fdpov\u011bdi a je nesena sofistikovanou hrou barvy a sv\u011btla. Malba Pavla Va\u0161\u00ed\u010dka (1979), rozp\u00ednaj\u00edc\u00ed se mezi p\u00f3ly expresionismu a realismu, se vyzna\u010duje suver\u00e9nn\u00edm mal\u00ed\u0159sk\u00fdm p\u0159ednesem, velkorys\u00fdm gestem a\u017e barokn\u00edho charakteru, i smyslem pro detail. Subtiln\u00ed, civiln\u011b v\u011bcn\u00e9 a jemn\u011b ironick\u00e9 d\u00edlo Jana Wolfchena Vl\u010dka (1977) je neodmysliteln\u011b spjato se z\u00e1jmem o vojenstv\u00ed a pyrotechnick\u00e9 ritu\u00e1ly a vyjad\u0159uje jeho bytostn\u011b humanistick\u00fd postoj.<\/p>\n<p><em>Rea Michalov\u00e1<\/em><\/p>\n<p>Katalog k v\u00fdstav\u011b k dispozici v galerii.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>30. 6. \u2013 3. 9. 2010 Sou\u010dasnou \u010deskou v\u00fdtvarnou sc\u00e9nu charakterizuje \u0161irok\u00e9 spektrum um\u011bleck\u00fdch p\u0159\u00edstup\u016f, kter\u00e9 ve sv\u00e9 tvorb\u011b uplat\u0148uj\u00ed auto\u0159i mlad\u00e9 a st\u0159edn\u00ed generace. Tato \u0161k\u00e1la sah\u00e1 od rozv\u00edjen\u00ed princip\u016f klasick\u00e9 malby, s reflex\u00ed nov\u00e9 postmedi\u00e1ln\u00ed kultury, p\u0159es koncept, instalaci a vyu\u017eit\u00ed nov\u00fdch m\u00e9di\u00ed. Uk\u00e1zalo se, \u017ee i v dne\u0161n\u00ed dob\u011b, kdy na n\u00e1s [&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-508","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/michalscollection.cz\/index.php?rest_route=\/wp\/v2\/posts\/508","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=508"}],"version-history":[{"count":2,"href":"https:\/\/michalscollection.cz\/index.php?rest_route=\/wp\/v2\/posts\/508\/revisions"}],"predecessor-version":[{"id":510,"href":"https:\/\/michalscollection.cz\/index.php?rest_route=\/wp\/v2\/posts\/508\/revisions\/510"}],"wp:attachment":[{"href":"https:\/\/michalscollection.cz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=508"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/michalscollection.cz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=508"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/michalscollection.cz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=508"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}