{"id":279,"date":"2022-02-06T22:08:29","date_gmt":"2022-02-06T22:08:29","guid":{"rendered":"https:\/\/www.cenavj.cz\/?page_id=279"},"modified":"2025-08-13T08:51:13","modified_gmt":"2025-08-13T08:51:13","slug":"kriticka-edice","status":"publish","type":"page","link":"https:\/\/www.cenavj.cz\/?page_id=279","title":{"rendered":"Kritick\u00e1 edice"},"content":{"rendered":"

Kritick\u00e1 edice<\/em> p\u0159in\u00e1\u0161\u00ed \u0159adu titul\u016f zab\u00fdvaj\u00edc\u00ed se v\u00fdtvarnou kritikou: zp\u016fsoby a mo\u017enostmi psan\u00ed o um\u011bn\u00ed, stejn\u011b jako reflexi um\u011bn\u00ed samotn\u00e9ho. Pr\u00e1v\u011b to stoj\u00ed symbolicky na pozad\u00ed spolupr\u00e1ce Ceny V\u011bry Jirousov\u00e9, jako\u017eto platformy pro oce\u0148ov\u00e1n\u00ed nov\u00fdch a vynal\u00e9zav\u00fdch strategi\u00ed kritick\u00fdch text\u016f, a Centra pro sou\u010dasn\u00e9 um\u011bn\u00ed Praha, coby m\u00edsta, kde se sou\u010dasn\u00e9 um\u011bn\u00ed d\u011bje. Edice se zam\u011b\u0159uje za p\u0159\u00edstupnost sou\u010dasn\u00e9 zahrani\u010dn\u00ed literatury \u010desk\u00e9mu \u010dten\u00e1\u0159i v\u00a0p\u0159ekladech, ale i p\u016fvodn\u00edch \u010desk\u00fdch textech v\u011bnovan\u00fdch oboru v\u00fdtvarn\u00e9 kritiky. V\u00a0roce 2021 jsme se zam\u011b\u0159ili na p\u0159eklad knihy Hala Fostera Bad New Days<\/em>, kter\u00fd vych\u00e1z\u00ed v\u00a0\u010desk\u00e9m p\u0159ekladu jako Z\u00edtra bude h\u016f\u0159.<\/em><\/p>\n

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Travis Jeppesen: Bad Writing (2023)<\/h2>\n

Travis Jeppesen v knize <\/span>\u0160patn\u00e9 psan\u00ed <\/span><\/i>p\u0159ich\u00e1z\u00ed s radik\u00e1ln\u00ed my\u0161lenkou, \u017ee selh\u00e1n\u00ed nemus\u00ed b\u00fdt v\u017edy ne\u00fasp\u011bch. Jeho z\u00e1jem o \u201e\u0161patnou\u201c literaturu, film \u010di v\u00fdtvarn\u00e9 um\u011bn\u00ed ne\u00fast\u00ed v argumentaci vedenou ve prosp\u011bch\u201espr\u00e1vn\u00fdch\u201c podob tvorby, ale naopak v kritick\u00e9 pochopen\u00ed, \u017ee pr\u00e1v\u011b pro to, \u010d\u00edm tyto pr\u00e1ce \u2013 mnohdy umanut\u011b a zatvrzele \u2013 jsou, jsou zaj\u00edmav\u00e9 a m\u00e1 smysl v\u011bnovat jim pozornost. Neodd\u011blitelnou sou\u010d\u00e1st\u00ed tohoto sd\u011blen\u00ed je i samotn\u00e1 jeho forma, kter\u00e1 experimentuje s jazykem a\u017e na hranici mo\u017en\u00e9ho, je\u017e se v p\u0159\u00edpad\u011b Travise Jeppesena nach\u00e1z\u00ed v oblasti objektov\u011b orientovan\u00e9ho psan\u00ed.<\/span>
\n<\/span> \u201eTexty v t\u00e9to knize,\u201c jak autor uv\u00e1d\u00ed, \u201eusiluj\u00ed p\u0159edev\u0161\u00edm o to, zachovat a reflektovat onu vnit\u0159n\u00ed pevnost, kter\u00e1 kdysi b\u00fdvala a b\u00fdt by v\u017edy m\u011bla ur\u010duj\u00edc\u00edm rysem kritiky. Velk\u00e1 \u010d\u00e1st z\u00a0nich se sna\u017e\u00ed rozv\u00edjet protiklady p\u0159\u00edtomn\u00e9 v\u00a0jejich form\u00e1ln\u00ed konstrukci a neuchylovat se k\u00a0zast\u00edrac\u00edm technik\u00e1m mnohem jemn\u011bj\u0161\u00edch, a t\u00edm p\u00e1dem i p\u0159ijateln\u011bj\u0161\u00edch forem kritiky, k tak zvan\u00e9mu \u201adobr\u00e9mu\u2018 psan\u00ed.\u201c <\/span><\/p>\n

O autorovi:<\/p>\n

Americk\u00fd kritik, spisovatel, b\u00e1sn\u00edk a um\u011blec Travis Jeppesen <\/strong>(*1979) ve sv\u00e9 knize <\/span>\u0160patn\u00e9 psan\u00ed<\/span><\/i> shroma\u017e\u010fuje vz\u00e1jemn\u011b prov\u00e1zan\u00e9 a na sebe navz\u00e1jem odkazuj\u00edc\u00ed esejistick\u00e9 texty, jim\u017e je \u201ebez ohledu na jejich jednotliv\u00e1 t\u00e9mata spole\u010dn\u00e1 stejn\u00e1 m\u00edra prosycenosti vnit\u0159n\u00ed dialektikou zab\u00fdvaj\u00edc\u00ed se pozic\u00ed psan\u00ed \u2013 a p\u0159edev\u0161\u00edm pak stavem kritiky\u201c v aktu\u00e1ln\u00ed dob\u011b autorovy reflexe. tematizuje a <\/span>rozv\u00edj\u00ed <\/span>mo\u017enosti objektov\u011b orientovan\u00e9ho p\u0159\u00edstupu v um\u011bleck\u00e9 tvorb\u011b. Jeppesen zde <\/span>rozv\u00edj\u00ed<\/span> my\u0161lenkov\u00fd proud spekulativn\u00edho realismus a objektov\u011b orientovan\u00e9ho p\u0159\u00edstupu jako cestu z krize a \u00fanavy v\u00fdtvarn\u00e9 kritiky, je\u017e obor za\u017e\u00edval v teoretick\u00fdch reflex\u00edch od konce nult\u00fdch let 21. stolet\u00ed.Tento filosofick\u00fd sm\u011br spekulativn\u00edho realismu se v jeho Jeppesen do sv\u00fdch teoretick\u00fdch \u00favah\u00e1ch o v\u00fdtvarn\u00e9m um\u011bn\u00ed poprv\u00e9 objevil na po\u010d\u00e1tku druh\u00e9ho desetilet\u00ed 21. stolet\u00eduvedl v roce 2011, p\u0159i\u010dem\u017e Jeppesen v dan\u00e9m my\u0161lenkov\u00e9m proudu hledal p\u0159edev\u0161\u00edm zp\u016fsob, jak se vymanit z\u00a0krize a \u00fanavy v\u00fdtvarn\u00e9 kritiky. <\/span>
\n<\/span>V obdob\u00ed 2019\u20132022 p\u016fsobil na Shanhgai Jiao Tong University, na akademick\u00fd post ov\u0161em kv\u016fli t\u011b\u017ek\u00fdm podm\u00ednk\u00e1m v\u00a0d\u016fsledku covidov\u00fdch opat\u0159en\u00ed rezignoval. V\u00a0posledn\u00edch letech Jeppesen na svou spisovatelskou tvorbu z\u00a0p\u0159edchoz\u00edch let nav\u00e1zal a na ja\u0159e roku 2023 m\u011bla v\u00a0Berl\u00edn\u011b premi\u00e9ru jeho hra <\/span>Ghosts of the Landwehr Canal<\/span><\/i>. Travis Jeppesen \u017eije st\u0159\u00eddav\u011b v\u00a0Berl\u00edn\u011b a v Lond\u00fdn\u011b, kde u\u010d\u00ed na Royal College of Art.<\/span><\/p>\n

 <\/p>\n

\"travis_obalka \"travis_obsah\"<\/p>\n

 <\/p>\n

P\u0159eklad: Jana Hl\u00e1vkov\u00e1<\/span><\/p>\n

P\u0159eklad ver\u0161\u016f v kap. Jazyk z\u00e1chodk\u016f: Al\u017eb\u011bta Stan\u010d\u00e1kov\u00e1<\/span><\/p>\n

Odborn\u00e1 redakce: Eva Skopalov\u00e1, Lenka St\u0159el\u00e1kov\u00e1<\/span><\/p>\n

Editace p\u0159ekladu a jazykov\u00e1 redakce: Lenka St\u0159el\u00e1kov\u00e1<\/span>
\n<\/span>Korektura: Krist\u00fdna Barto\u0161\u00a0<\/span><\/p>\n

Ilustrace: Mark Ther<\/span><\/p>\n

Grafick\u00fd n\u00e1vrh: Mat\u011bj Lacko, Jana Jebav\u00e1<\/span><\/p>\n

Sazba: Jana Jebav\u00e1 \/ studio Datle<\/span><\/p>\n



<\/p>\n

Hal Foster: Z\u00edtra bude h\u016f\u0159: Um\u011bn\u00ed, kritika, nouzov\u00fd stav (2021)<\/strong><\/h2>\n

Hal Foster ve sv\u00e9 knize Z\u00edtra bude h\u016f\u0159<\/em> nestav\u00ed na star\u00fdch dobr\u00fdch \u010dasech, ale na t\u011bch hor\u0161\u00edch, kter\u00e9 p\u0159ich\u00e1zej\u00ed. Maxima, jen\u017e si poznamenal Walter Benjamin z\u00a0rozhovoru s\u00a0Bertoldem Brechtem, se v\u00a0anal\u00fdze Hala Fostera nakonec neuskute\u010dnila \u2013 m\u011blo b\u00fdt h\u016f\u0159, ale nen\u00ed. Co se tedy avantgard\u011b tedy stalo? \u201eAvantgarda, kter\u00e1 m\u011b zde zaj\u00edm\u00e1, v\u0161ak v tomto smyslu nen\u00ed ani p\u0159edvoj (avant<\/em>), ani t\u00fdl, je sp\u00ed\u0161 j\u00edzliv\u011b imanentn\u00ed. Daleka hrdinstv\u00ed, nenamlouv\u00e1 si, \u017ee se od star\u00e9ho \u0159\u00e1du m\u016f\u017ee zcela odd\u011blit, anebo \u017ee m\u016f\u017ee nal\u00e9zt jin\u00fd. M\u00edsto toho se sna\u017e\u00ed v dan\u00e9m \u0159\u00e1du vystopovat ji\u017e existuj\u00edc\u00ed trhliny, vyv\u00edjet na n\u011b je\u0161t\u011b v\u011bt\u0161\u00ed tlak, a dokonce je i n\u011bjak\u00fdm zp\u016fsobem aktivovat. Tato avantgarda zdaleka nen\u00ed mrtv\u00e1, \u017eije a da\u0159\u00ed se j\u00ed dodnes,\u201c analyzuje Hal Foster.<\/p>\n

O autorovi:<\/p>\n

Hal Foster<\/strong> (*1955) je americk\u00fd kritik a historik v\u00fdtvarn\u00e9ho um\u011bn\u00ed. Po studi\u00edch na Princeton University pracoval pro magaz\u00edn Artforum <\/em>(1977-1981), pozd\u011bji se stal editorem \u010dasopisu Art in America <\/em>a vedl kritick\u00e1 a kur\u00e1torsk\u00e1 studia p\u0159i Whitney muzeu v\u00a0New Yorku. Pot\u00e9 p\u016fsobil tak\u00e9 na Cornell University, Princeton University a Wilson University. V letech 1991-2011 byl redaktorem \u010dasopisu\u00a0October,<\/em>\u00a0spole\u010dn\u011b s\u00a0Rosalind Krauss, Yve-Alainem Boisem, Douglasem Crimpem ad. Hal Foster je autorem \u0159ady publikac\u00ed v\u011bnovan\u00fdch nejsou\u010dasn\u011bj\u0161\u00edmu um\u011bn\u00ed, v\u00a0roce 2006 publikoval \u00fasp\u011b\u0161nou knihu Prosthetic Gods,<\/em> byl tak\u00e9 sou\u010d\u00e1st\u00ed autorsk\u00e9ho kolektivu obs\u00e1hl\u00e9 synt\u00e9zy modern\u00edho a sou\u010dasn\u00e9ho um\u011bn\u00ed Um\u011bn\u00ed po roce 1900 <\/em>(2005, \u010desky 2007 a 2015 \u00a0– druh\u00e9, dopln\u011bn\u00e9 vyd\u00e1n\u00ed obsahuje i \u00faryvky t\u00e9to knihy).<\/p>\n

\"Sn\u00edmek<\/p>\n

P\u0159eklad: Magdalena Jadwiga H\u00e4rtelov\u00e1<\/p>\n

Odborn\u00e1 redakce: Eva Skopalov\u00e1<\/p>\n

Jazykov\u00e1 redakce: Lenka St\u0159el\u00e1kov\u00e1, Marie Strnadov\u00e1<\/p>\n

Grafick\u00fd n\u00e1vrh: Mat\u011bj Lacko<\/p>\n

Grafick\u00e1 \u00faprava: Jana Jebav\u00e1 – Studio Datle<\/p>\n","protected":false},"excerpt":{"rendered":"

Kritick\u00e1 edice p\u0159in\u00e1\u0161\u00ed \u0159adu titul\u016f zab\u00fdvaj\u00edc\u00ed se v\u00fdtvarnou kritikou: zp\u016fsoby a mo\u017enostmi psan\u00ed o um\u011bn\u00ed, stejn\u011b jako reflexi um\u011bn\u00ed samotn\u00e9ho. Pr\u00e1v\u011b to stoj\u00ed symbolicky na pozad\u00ed spolupr\u00e1ce Ceny V\u011bry Jirousov\u00e9, jako\u017eto platformy pro oce\u0148ov\u00e1n\u00ed nov\u00fdch a vynal\u00e9zav\u00fdch strategi\u00ed kritick\u00fdch text\u016f, a Centra pro sou\u010dasn\u00e9 um\u011bn\u00ed Praha, coby m\u00edsta, kde se sou\u010dasn\u00e9 um\u011bn\u00ed d\u011bje. Edice se zam\u011b\u0159uje za p\u0159\u00edstupnost sou\u010dasn\u00e9 zahrani\u010dn\u00ed literatury \u010desk\u00e9mu \u010dten\u00e1\u0159i v\u00a0p\u0159ekladech, ale i p\u016fvodn\u00edch \u010desk\u00fdch textech v\u011bnovan\u00fdch oboru v\u00fdtvarn\u00e9 kritiky. V\u00a0roce 2021 jsme se zam\u011b\u0159ili na p\u0159eklad knihy Hala Fostera Bad New Days, kter\u00fd vych\u00e1z\u00ed v\u00a0\u010desk\u00e9m p\u0159ekladu jako Z\u00edtra bude h\u016f\u0159.   Travis Jeppesen: Bad Writing (2023) \u2192<\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-279","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.cenavj.cz\/index.php?rest_route=\/wp\/v2\/pages\/279","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.cenavj.cz\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.cenavj.cz\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.cenavj.cz\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.cenavj.cz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=279"}],"version-history":[{"count":13,"href":"https:\/\/www.cenavj.cz\/index.php?rest_route=\/wp\/v2\/pages\/279\/revisions"}],"predecessor-version":[{"id":565,"href":"https:\/\/www.cenavj.cz\/index.php?rest_route=\/wp\/v2\/pages\/279\/revisions\/565"}],"wp:attachment":[{"href":"https:\/\/www.cenavj.cz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=279"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}