{"id":866,"date":"2012-06-10T22:26:56","date_gmt":"2012-06-10T20:26:56","guid":{"rendered":"http:\/\/michalscollection.cz\/?p=866"},"modified":"2012-06-10T22:26:56","modified_gmt":"2012-06-10T20:26:56","slug":"jiri-hauschka","status":"publish","type":"post","link":"https:\/\/michalscollection.cz\/?p=866","title":{"rendered":"Ji\u0159\u00ed Hauschka"},"content":{"rendered":"

\u010cern\u00e1 a b\u00edl\u00e1,
\nGalerie 21. stolet\u00ed, Praha
\n11. 5. – 31. 5.2012<\/strong><\/p>\n

Tvorbu Ji\u0159\u00edho Hauschky (1965) lze p\u0159ekvapiv\u011b interpretovat r\u016fzn\u00fdmi zp\u016fsoby, a to i p\u0159esto, \u017ee jeho d\u00edlo je t\u00e9maticky a stylov\u011b velmi kompaktn\u00ed. Teoretick\u00e9 podklady pro svou pr\u00e1ci, kter\u00e9 nabyl jak p\u0159i sv\u00e9m ob\u010dansk\u00e9m povol\u00e1n\u00ed, tak p\u0159\u00edm\u00fdm kontaktem s \u010deln\u00edmi p\u0159edstaviteli stuckistick\u00e9ho hnut\u00ed (Stuckismus byl zalo\u017een roku 1999 v\u00a0Lond\u00fdn\u011b teoretikem Charlesem Thomsonem s\u00a0c\u00edlem obnovit pozice malby oproti s\u00edl\u00edc\u00edm konceptu\u00e1ln\u00edm tendenc\u00edm, v\u00a0n\u00e1sleduj\u00edc\u00edm desetilet\u00ed se roz\u0161\u00ed\u0159il do cel\u00e9ho sv\u011bta. Dnes existuje p\u0159es 200 stuckistick\u00fdch skupin, \u010desk\u00e1 pobo\u010dka vznikla roku 2004.), p\u0159etv\u00e1\u0159\u00ed do vlastn\u00ed v\u00fdtvarn\u00e9 formy, p\u0159edstavuj\u00edc\u00ed jeho v\u00fdrazn\u00fd a nezam\u011bniteln\u00fd rukopis. Autorovy origin\u00e1ln\u00ed stylizace, kter\u00e9 nejsou jednozna\u010dn\u011b definovateln\u00e9 jako nap\u0159\u00edklad silo\u010d\u00e1ry, induk\u010dn\u00ed mapy, frakt\u00e1ly pohybu, \u010dasov\u00e9 ozv\u011bny apod., vytv\u00e1\u0159ej\u00ed objemov\u00fd tvar n\u011b\u010deho, co n\u00e1m tv\u016frce nechce prozradit p\u0159\u00edmo. Tyto linie proplouvaj\u00ed krajinou: n\u011bkdy prob\u00edhaj\u00ed horizont\u00e1ln\u011b, jindy se vzp\u00ednaj\u00ed vertik\u00e1ln\u011b, rozp\u00ednaj\u00ed se do prostoru nebo vytv\u00e1\u0159ej\u00ed spojovac\u00ed prvek jednotliv\u00fdch element\u016f v\u00a0obraze. Jsou to jak\u00e9si toky energie, reprezentuj\u00edc\u00ed paraleln\u00ed, fantazijn\u00ed sv\u011bty, budovan\u00e9 imaginac\u00ed.
\nHauschka maluje emocion\u00e1ln\u00ed krajinn\u00e9 scen\u00e9rie, je fascinov\u00e1n magi\u010dnost\u00ed a mysti\u010dnost\u00ed lesa, z\u0161e\u0159elou atmosf\u00e9rou lesn\u00edch mlh, barevn\u00fdmi sv\u011btly no\u010dn\u00edho m\u011bsta. Vp\u00edj\u00ed se do prostoru modern\u00ed metropole. P\u0159itahuj\u00ed ho m\u00edsta, kde \u010dlov\u011bk zanechal svou stopu, lidskou figuru n\u011bkdy zakomponov\u00e1v\u00e1 do obrazu. Cestu vn\u00edm\u00e1 jako spojnici mezi m\u011bstem a krajinou, zaj\u00edmav\u00fd, kontrastn\u00ed geometrick\u00fd prvek, ale p\u0159ikl\u00e1d\u00e1 j\u00ed tak\u00e9 symbolick\u00fd v\u00fdznam.
\nNa autorov\u00fdch d\u00edlech m\u016f\u017eeme vysledovat p\u0159\u00edmou \u00fam\u011bru mezi sd\u011blen\u00edm a formou. Stejn\u011b tak n\u00e1zev sou\u010dasn\u00e9 v\u00fdstavy v\u00a0Galerii 21. stolet\u00ed se d\u00e1 vn\u00edmat jako protiklad, praz\u00e1klad (ve smyslu jin a jang, apod.) anebo v\u00a0um\u011blcov\u011b pojet\u00ed jako nekone\u010dn\u00fd prostor mezi nimi. Hauschka \u010derp\u00e1 ze sv\u00e9ho vid\u011bn\u00ed reality, kter\u00e9 by bylo zajist\u00e9 ordin\u00e9rn\u00ed, kdyby d\u016fkladn\u011b nepracoval s\u00a0potenci\u00e1lem emoc\u00ed, kter\u00e9 jeho t\u00e9mat\u016fm dod\u00e1vaj\u00ed na v\u00fdlu\u010dnosti. Jeho tv\u016fr\u010d\u00ed p\u0159\u00edstup je synt\u00e9zou tvar\u016f a pocit\u016f, v\u00a0z\u00e1kladn\u00edm konfliktu rozumu a citu. Napadla m\u011b paralela ve smyslu oxym\u00f3ronu. Vid\u011bt zvuky, sly\u0161et obraz. Autor se koncentruje na \u0159e\u0161en\u00ed problematiky prol\u00edn\u00e1n\u00ed, \u201etekutosti\u201c z\u00a0r\u016fzn\u00fdch \u00fahl\u016f, s\u00a0preciznost\u00ed hodnou v\u011bdce. Promy\u0161lenost jeho p\u0159\u00edstupu kontrastuje s jemnou zasn\u011bnost\u00ed a poeti\u010dnost\u00ed v\u00fdsledn\u00e9ho d\u00edla. To obda\u0159uje pl\u00e1tna mnohem v\u011bt\u0161\u00ed s\u00edlou v\u00fdrazu a enormn\u00ed pe\u010det\u00ed autenticity.
\nVrstevnice jeho silo\u010dar, je\u017e nezap\u0159ou sv\u016fj organick\u00fd p\u016fvod, napl\u0148uj\u00ed kompozici obrazu nebo maj\u00ed roli drobn\u00e9ho akcentu. Rozv\u00edjej\u00ed se bez ohledu na ohrani\u010den\u00ed form\u00e1tem, jako by jejich mapa pokra\u010dovala d\u00e1l, a\u017e do na\u0161\u00ed reality.
\nJi\u0159\u00ed Hauschka si tvrdo\u0161\u00edjn\u011b a urputn\u011b vybudoval svou um\u011bleckou vizi, se kterou se dok\u00e1zal prosadit na mezin\u00e1rodn\u00ed \u00farovni (co\u017e pro um\u011blce \u2013 autodidakta jist\u011b nen\u00ed nikterak snadn\u00e9). Jeho pr\u00e1ce p\u016fsob\u00ed pozitivn\u00edm n\u00e1bojem, ani\u017e by div\u00e1ka zat\u011b\u017eovaly \u201epopisem\u201c tv\u016fr\u010d\u00edho z\u00e1pasu. Mezin\u00e1rodn\u00ed kontext a p\u0159esn\u00e1 tv\u016fr\u010d\u00ed vyprofilovanost jsou v\u00fdrazn\u00fdmi kvalitami, jimi\u017e Hauschka obohacuje \u010deskou v\u00fdtvarnou sc\u00e9nu. Typ podobn\u011b soust\u0159ed\u011bn\u00e9ho um\u011blce je toti\u017e u n\u00e1s pom\u011brn\u011b neobvykl\u00fd. Proto je t\u0159eba ocenit autorovu pevnou v\u016fli p\u0159i prohlubov\u00e1n\u00ed a sofistikaci jeho d\u00edla.<\/p>\n

Rea Michalov\u00e1<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

\u010cern\u00e1 a b\u00edl\u00e1, Galerie 21. stolet\u00ed, Praha 11. 5. – 31. 5.2012 Tvorbu Ji\u0159\u00edho Hauschky (1965) lze p\u0159ekvapiv\u011b interpretovat r\u016fzn\u00fdmi zp\u016fsoby, a to i p\u0159esto, \u017ee jeho d\u00edlo je t\u00e9maticky a stylov\u011b velmi kompaktn\u00ed. Teoretick\u00e9 podklady pro svou pr\u00e1ci, kter\u00e9 nabyl jak p\u0159i sv\u00e9m ob\u010dansk\u00e9m povol\u00e1n\u00ed, tak p\u0159\u00edm\u00fdm kontaktem s \u010deln\u00edmi p\u0159edstaviteli stuckistick\u00e9ho hnut\u00ed (Stuckismus […]<\/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-866","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/michalscollection.cz\/index.php?rest_route=\/wp\/v2\/posts\/866","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=866"}],"version-history":[{"count":2,"href":"https:\/\/michalscollection.cz\/index.php?rest_route=\/wp\/v2\/posts\/866\/revisions"}],"predecessor-version":[{"id":868,"href":"https:\/\/michalscollection.cz\/index.php?rest_route=\/wp\/v2\/posts\/866\/revisions\/868"}],"wp:attachment":[{"href":"https:\/\/michalscollection.cz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=866"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/michalscollection.cz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=866"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/michalscollection.cz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=866"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}