<\/p>\n\n\n\n
Byly \u010dasy, kdy vyj\u00e1d\u0159en\u00ed kritika k \u0159e\u0161en\u00ed a kvalit\u00e1m um\u011bleck\u00e9ho d\u00edla byly skute\u010dn\u00fdm autoritativn\u00edm a normativn\u00edm soudem, z\u00e1sadn\u011b ovliv\u0148uj\u00edc\u00edm nejen vn\u00edm\u00e1n\u00ed d\u00edla kulturn\u00ed ve\u0159ejnost\u00ed, ale v dob\u011b p\u0159ed vyu\u017e\u00edv\u00e1n\u00edm technick\u00e9ho zobrazen\u00ed d\u011bl, rovn\u011b\u017e \u010dasto prvn\u00edm zp\u016fsobem, jak\u00fdm se \u010dten\u00e1\u0159i s d\u00edly sezn\u00e1mili a vytvo\u0159ili si o nich prim\u00e1rn\u00ed p\u0159edstavu. Autoritativn\u00ed pozice, ze kter\u00e9 mohl vych\u00e1zet nap\u0159\u00edklad jeden z otc\u016f um\u011bleck\u00e9 kritiky, Denis Diderot, ve sv\u00fdch proslul\u00fdch zpr\u00e1v\u00e1ch z pa\u0159\u00ed\u017esk\u00fdch Sal\u00f3n\u016f, nicm\u00e9n\u011b byla spojen\u00e1 i s jeho \u0161ir\u0161\u00ed proslulost\u00ed jako\u017eto liter\u00e1ta a filozofa. Etick\u00fd rozm\u011br takov\u00e9ho p\u0159\u00edstupu, spojen\u00fd s mor\u00e1ln\u00edm \u00e9tosem osv\u00edcensk\u00e9ho filozofa, je v takov\u00e9m p\u0159\u00edpad\u011b nasnad\u011b, stejn\u011b jako jeho n\u00e1roky na um\u011bleck\u00e1 d\u00edla, zahrnuj\u00edc\u00ed po\u017eadavek \u201emor\u00e1ln\u00ed\u201c autenticity um\u011blcova v\u00fdrazu. I proto se s\u00e1m Diderot natolik ohniv\u011b obhajuje v \u00favodu sv\u00e9ho koment\u00e1\u0159e tvorby prusk\u00e9 um\u011blkyn\u011b Anny Dorothey Therbusch, v jeho kritick\u00e9 zpr\u00e1v\u011b ze Salonu roku 1767. Mo\u017en\u00e9 podez\u0159en\u00ed na osobn\u00ed zainteresovanost \u010di dokonce intimn\u00ed vztah k autorce (kter\u00e1 vytvo\u0159ila i jeho proslul\u00fd, v grafick\u00fdch reprodukc\u00edch tak roz\u0161\u00ed\u0159en\u00fd, polonah\u00fd portr\u00e9t), kritik v\u00e1\u0161niv\u011b pop\u00edr\u00e1. V dal\u0161\u00edch odstavc\u00edch jeho kritiky pak n\u00e1sleduje ji\u017e zd\u00e1nliv\u011b objektivn\u00ed zhodnocen\u00ed prezentovan\u00e9 pr\u00e1ce um\u011blkyn\u011b, kter\u00e1 nenaplnila jeho o\u010dek\u00e1v\u00e1n\u00ed. Diderot se j\u00ed ale z dne\u0161n\u00edho \u00fahlu pohledu zjevn\u011b mst\u00ed i za to, \u017ee z\u016fstala nenapln\u011bna jeho manipulativn\u00ed a vlastnick\u00e1 o\u010dek\u00e1v\u00e1n\u00ed, je\u017e doprov\u00e1zela jeho podporu p\u0159i uveden\u00ed Therbusch do francouzsk\u00e9ho prost\u0159ed\u00ed.<\/p>\n\n\n\n
V p\u0159\u00edpad\u011b v\u011bt\u0161iny modernistick\u00fdch a pozd\u011bj\u0161\u00edch um\u011bleck\u00fdch kritik\u016f v\u0161ak tato mor\u00e1ln\u00ed autorita i jinak v\u00fdrazn\u00e9 osobnosti v\u011bt\u0161inou tak zjevn\u00e1 nen\u00ed. Hlas, pozici a t\u00edm i autoritu jim dodala p\u0159edev\u0161\u00edm m\u00e9dia, p\u0159es n\u011b\u017e se mohli vyjad\u0159ovat. Jist\u011b, pokud si vybereme n\u011bkterou z nejzn\u00e1m\u011bj\u0161\u00edch osobnost\u00ed jako byl t\u0159eba Clement Greenberg, nalezneme u n\u011bj v podstat\u011b analogick\u00e9 trable jako u zm\u00edn\u011bn\u00e9ho Diderota. Hlavn\u00ed rozd\u00edl je ov\u0161em v tom, \u017ee ve sv\u00e9m p\u0159\u00edpad\u011b podobn\u00e9 manipulativn\u00ed strategie, s nimi\u017e budoval za \u201esv\u016fj\u201c obraz sou\u010dasn\u00e9ho um\u011bn\u00ed, dok\u00e1zal pom\u011brn\u011b \u00fasp\u011b\u0161n\u011b a dlouho skr\u00fdvat. A to i p\u0159esto, \u017ee pr\u00e1v\u011b v jeho aktivit\u00e1ch se vyvinula ona i pro sou\u010dasnost n\u011bkdy tak p\u0159\u00edzna\u010dn\u011b komplexn\u00ed struktura st\u0159etu z\u00e1jm\u016f, po\u010d\u00ednaj\u00edc\u00ed u apropriace a cenzury d\u00edla preferovan\u00fdch um\u011blc\u016f, p\u0159es zapojen\u00ed do finan\u010dn\u00edch z\u00e1le\u017eitost\u00ed, a\u017e po osobn\u00ed af\u00e9ru se zainteresovanou um\u011blkyn\u00ed.[1]<\/a> P\u0159esto se jako u jin\u00fdch jednalo o veskrze institucionalizovanou pozici spojenou s p\u0159\u00edstupem k dan\u00fdm publika\u010dn\u00edm mo\u017enostem a dob\u0159e zapadaj\u00edc\u00ed do strojov\u00e9ho soukol\u00ed modernistick\u00e9 spole\u010dnosti. Tento posun byl spojen nejen s profesionalizac\u00ed a specializac\u00ed oboru, ale rovn\u011b\u017e s \u0159adou ot\u00e1zek, jako jsou nap\u0159\u00edklad: Co d\u00e1v\u00e1 dan\u00fdm kritik\u016fm mand\u00e1t se z takov\u00e9 pozice vyjad\u0159ovat?, anebo: Jak\u00fdm zp\u016fsobem ho z\u00edskali?<\/p>\n\n\n\n Jak se vlastn\u011b um\u011bleck\u00fd kritik i dnes dost\u00e1v\u00e1 k hlasu, kter\u00fd mu d\u00e1v\u00e1 m\u00e9dium jako jsou noviny, \u010dasopisy \u010di jejich on-line verze? Co mu dod\u00e1v\u00e1 autoritu ve\u0159ejn\u011b soudit a hodnotit um\u011bleckou tvorbu v\u00edc ne\u017e jin\u00fdm div\u00e1k\u016fm? U\u017e u t\u00e9to prim\u00e1rn\u00ed ot\u00e1zky, dot\u00fdkaj\u00edc\u00ed se etiky tohoto oboru, n\u00e1m re\u00e1ln\u00e1 situace p\u0159\u00edli\u0161 optimismu neposkytne. Jak jsem se t\u0159eba j\u00e1 dostal k psan\u00ed pro oborov\u00e1 periodika? Hr\u00e1ly v tom roli t\u0159i aspekty, zat\u00edmco ten prvn\u00ed, to \u017ee jsem byl student oboru d\u011bjin um\u011bn\u00ed s tehdy pon\u011bkud exotick\u00fdm z\u00e1jmem o um\u011bn\u00ed sou\u010dasn\u00e9, bychom mohli za\u0161krtnout jako \u201ev po\u0159\u00e1dku\u201c, zbyl\u00e9 dva \u2013 tedy osobn\u00ed zn\u00e1most s vystavuj\u00edc\u00edmi um\u011blci a to, \u017ee moje prvn\u00ed takto napsan\u00e9 recenze v\u00fdstav si objednali u redakc\u00ed dan\u00fdch periodik pr\u00e1v\u011b oni, ji\u017e asi ne. Jist\u011b, je to i ot\u00e1zka osobn\u00edch dispozic kritika, jeho ambici\u00f3znosti a schopnosti se prosadit (tedy n\u011bco co jsem t\u0159eba j\u00e1 i p\u0159es sv\u016fj intenzivn\u00ed ponor do tehdej\u0161\u00ed um\u011bleck\u00e9 sc\u00e9ny postr\u00e1dal). P\u0159esto v\u0161ak nelze zcela ignorovat, nakolik je v dan\u00e9m prost\u0159ed\u00ed do zna\u010dn\u00e9 m\u00edry jak\u00fdkoliv status spojen s analogick\u00fdmi mechanismy. U\u017e to, \u017ee autor, kur\u00e1tor, \u010di redakce n\u011bkdy \u201ese\u017eene\u201c n\u011bkoho adekv\u00e1tn\u00edho, kdo by mohl o v\u00fdstav\u011b napsat, prost\u011b b\u00fdv\u00e1 vz\u00e1cnost. Pr\u00e1v\u011b tato moje zku\u0161enost mne tak\u00e9 brzy od po\u010d\u00e1te\u010dn\u00ed naivity dovedla k t\u011bmto etick\u00fdm ot\u00e1zk\u00e1m. V tak mal\u00e9 a konstantn\u011b podfinancovan\u00e9 komunit\u011b, jakou je prost\u0159ed\u00ed \u010desk\u00e9ho sou\u010dasn\u00e9ho um\u011bn\u00ed, si asi nejde d\u011blat \u017e\u00e1dn\u00e9 iluze, \u017ee by se dalo podobn\u00fdm jev\u016fm vyhnout. Nicm\u00e9n\u011b, p\u0159ece jenom lze ot\u00e1zku polo\u017eit i jinak: Jde se vyhnout alespo\u0148 tomu, aby byly pr\u00e1v\u011b t\u00edm, co strukturu a funk\u010dn\u00ed vazby na n\u00ed p\u0159\u00edmo definuje? A dal\u0161\u00ed ot\u00e1zka: M\u016f\u017ee p\u0159i tom alespo\u0148 trochu pomoci n\u011bco jako \u201eetick\u00fd kodex\u201c?<\/p>\n\n\n\n V posledn\u00edch letech n\u00e1m takov\u00e9 t\u00e1z\u00e1n\u00ed m\u016f\u017ee p\u0159ipadat a\u017e zbyte\u010dn\u00e9, kv\u016fli neust\u00e1l\u00e9mu vzestupu v\u00fdznamu soci\u00e1ln\u00edch s\u00edt\u00ed a na nich se \u00fasp\u011b\u0161n\u011b p\u0159\u00edmo sv\u00e9mu publiku ve vlastn\u00ed re\u017eii prezentuj\u00edc\u00edch mlad\u0161\u00edch generac\u00ed um\u011blc\u016f. Zvl\u00e1\u0161\u0165 kdy\u017e se v mezin\u00e1rodn\u00edm kontextu v podobn\u00fdch pozic\u00edch influencer\u016f nevy\u017eaduj\u00edc\u00edch zprost\u0159edkov\u00e1n\u00ed klasick\u00fdmi informa\u010dn\u00edmi m\u00e9dii a ani profesion\u00e1ln\u00edmi um\u011bleck\u00fdmi kritiky, ocitli i n\u011bkter\u00e9 osobnosti, maj\u00edc\u00ed bl\u00edzko pr\u00e1v\u011b ke kritick\u00e9mu komentov\u00e1n\u00ed um\u011bleck\u00e9ho prost\u0159ed\u00ed \u2013 sta\u010d\u00ed zm\u00ednit hv\u011bzdy Instagramu \u2013 jako je veter\u00e1n Jerry Saltz (paraleln\u011b publikuj\u00edc\u00ed i klasick\u00fdm zp\u016fsobem), \u010di v\u00edce p\u0159\u00edzna\u010dn\u00e9 profily, v\u00fdrazn\u011b se profiluj\u00edc\u00ed sv\u00fdmi pointami trefuj\u00edc\u00edmi se do soci\u00e1ln\u00edch a obchodn\u00edch model\u016f sou\u010dasn\u00e9ho um\u011bleck\u00e9ho prost\u0159ed\u00ed, jak\u00fdmi jsou nap\u0159\u00edklad Brad Troemel (@bradtroemel), \u010di pod zkomolen\u00fdm jm\u00e9nem mocn\u00e9ho galeristy vystupuj\u00edc\u00ed Jerry Gogosian (@jerrygogosian). Spojen\u00ed obrazu, textu a popul\u00e1rn\u00ed formy mem\u016f pomohlo do zna\u010dn\u00e9 m\u00edry mlad\u0161\u00edm generac\u00edm nahradit t\u011b\u017ek\u00e9 verb\u00e1ln\u00ed struktury klasick\u00e9ho kritick\u00e9ho \u017e\u00e1nru n\u011b\u010d\u00edm, co je mnohem kompatibiln\u011bj\u0161\u00ed, jak s \u0161irokou kulturou sou\u010dasnosti, tak i s dne\u0161n\u00edm transmedi\u00e1ln\u00edm um\u011bleck\u00fdm prost\u0159ed\u00edm. Je nutn\u00e9 ale podotknout, \u017ee v \u010desk\u00e9m prost\u0159ed\u00ed se i d\u00edky odli\u0161n\u00fdm podm\u00ednk\u00e1m takov\u00e1 v\u00fdrazn\u011b profilovan\u00e1 kritick\u00e1 osobnost na soci\u00e1ln\u00edch s\u00edt\u00edch nevyskytla a nikdo z um\u011blc\u016f (ve v\u0161ech v\u00fd\u0161e zm\u00edn\u011bn\u00fdch p\u0159\u00edpadech se jedn\u00e1 o p\u016fvodn\u011b um\u011blecky vzd\u011blan\u00e9 osobnosti, co\u017e je ov\u0161em zjevn\u011b stejn\u011b legitimn\u00ed p\u0159edpoklad pro pr\u00e1ci um\u011bleck\u00e9ho kritika, jako je tomu v p\u0159\u00edpadech t\u011bch \u201eteoreticky\u201c vzd\u011blan\u00fdch), \u010di kritik\u016f ve sv\u00fdch podobn\u011b polemicky lad\u011bn\u00fdch stanovisc\u00edch nevystoupil d\u00e1le, ne\u017e maxim\u00e1ln\u011b p\u0159ed publikum tvo\u0159en\u00e9 sou\u010dtem jeho p\u0159\u00e1tel na Facebooku. Komornost zdej\u0161\u00ed v\u00fdtvarn\u00e9 sc\u00e9ny, stejn\u011b jako prov\u00e1zan\u00e9 z\u00e1jmy i p\u0159\u00e1telstv\u00ed z um\u011bleck\u00fdch \u0161kol, nez\u00e1visl\u00fdch i komer\u010dn\u00edch galeri\u00ed a ve\u0159ejn\u00fdch instituc\u00ed, podobn\u00fdm otev\u0159en\u00fdm kritik\u00e1m v nedostate\u010dn\u011b diferenciovan\u00e9m a hierarchicky strukturovan\u00e9m \u010desk\u00e9m prost\u0159ed\u00ed prost\u011b nep\u0159ej\u00ed. Jako by se tu jen opakovala ona zn\u00e1m\u00e1 kli\u0161\u00e9 o provinci\u00e1lnosti \u010desk\u00e9ho um\u011bleck\u00e9ho prost\u0159ed\u00ed v 19. stolet\u00ed. M\u00e1me zde sice onu v\u017edy tak otev\u0159enou a up\u0159\u00edmnou rubriku kur\u00e1tora Ond\u0159eje Chrob\u00e1ka, pravideln\u011b publikovanou v \u010dasopise Art Antiques, nicm\u00e9n\u011b i p\u0159es \u0159adu p\u0159esn\u011b m\u00ed\u0159en\u00fdch point, sm\u011b\u0159uj\u00edc\u00edch k ironick\u00e9mu tep\u00e1n\u00ed zdej\u0161\u00edch institucion\u00e1ln\u00edch man\u00fdr, v jeho glos\u00e1ch v podstat\u011b chyb\u00ed t\u00e9mata spojen\u00e1 s nejaktu\u00e1ln\u011bj\u0161\u00ed problematikou \u017eiv\u00e9 um\u011bleck\u00e9 sc\u00e9ny.<\/p>\n\n\n\n Tato lok\u00e1ln\u00ed situace i postupn\u011b se vyno\u0159uj\u00edc\u00ed \u00fanava z virtu\u00e1ln\u00edch platforem soci\u00e1ln\u00edch m\u00e9di\u00ed, ale dnes i za jist\u00e9 pomoci pandemick\u00e9 izolace za\u010d\u00edn\u00e1 nosnost tohoto p\u0159\u00edstupu siln\u011b rozlept\u00e1vat. Tradi\u010dn\u011bj\u0161\u00ed, sou\u010dasn\u011b v\u0161ak p\u0159ece jen ov\u011b\u0159en\u00e9 m\u00e9dium \u010dist\u00e9ho textu, kter\u00e9 poskytuje \u0161ir\u0161\u00ed, hlub\u0161\u00ed a p\u0159esn\u011bji artikulovan\u00fd prostor pro vyj\u00e1d\u0159en\u00ed, mo\u017en\u00e1 zase z\u00edsk\u00e1v\u00e1 v\u011bt\u0161\u00ed v\u00e1hu. Nicm\u00e9n\u011b asi lze pochybovat, \u017ee podobn\u011b v\u00fdraznou pozici n\u011bkdy znova z\u00edskaj\u00ed i osobnosti kritik\u016f. Dnes um\u011bleck\u00fd kritik ji\u017e nem\u016f\u017ee b\u00fdt autoritou a soudcem, ale sp\u00ed\u0161e polemick\u00fdm \u010di naopak kongeni\u00e1ln\u00edm koment\u00e1torem. Jejich slovo nem\u00e1 ani zdaleka takovou v\u00e1hu a dosah, jakou v mnohem \u0161ir\u0161\u00edm medi\u00e1ln\u00edm prostoru z\u00edsk\u00e1vaj\u00ed sami sebe propaguj\u00edc\u00ed se medi\u00e1ln\u00ed v\u00fdstupy um\u011blc\u016f, galerist\u016f \u010di sb\u011bratel\u016f. Um\u011bleck\u00e1 kriti\u010dka \u010di kritik v jejich u\u017e\u0161\u00edm ch\u00e1p\u00e1n\u00ed sv\u00fdm vzd\u011bl\u00e1n\u00edm i zku\u0161enostmi pou\u010den\u00e9ho analytika a p\u00edsemn\u011b se vyjad\u0159uj\u00edc\u00edho partnera v dialogu s um\u011bleck\u00fdmi d\u00edly, jsou v\u011bt\u0161inou mnohem v\u00edce uv\u011bzn\u011bni v prost\u0159ed\u00ed specializovan\u00fdch oborov\u00fdch m\u00e9di\u00ed a jejich stejn\u011b tak limitovan\u00e9ho publika.<\/p>\n\n\n\n I p\u0159es \u0159adu omezen\u00ed spojen\u00fdch s t\u00edmto pon\u011bkud m\u011blk\u00fdm rybn\u00ed\u010dkem odborn\u00e9 kritiky, kter\u00fd je oproti hlubok\u00e9mu medi\u00e1ln\u00edmu mo\u0159i masov\u011bj\u0161\u00edch m\u00e9di\u00ed, kde i v \u010desk\u00e9m prost\u0159ed\u00ed v posledn\u00ed dob\u011b z\u00edsk\u00e1vaj\u00ed vedle zcela chaotick\u00e9ho a kvalitativn\u011b obvykle problematick\u00e9ho novin\u00e1\u0159sk\u00e9ho v\u00fdb\u011bru \u201ev\u00fdtvarn\u00edk\u016f\u201c, \u010d\u00edm d\u00e1l v\u011bt\u0161\u00ed prostor ekonomick\u00e9 z\u00e1jmy producent\u016f, obchodn\u00edk\u016f a investor\u016f v\u00fdtvarn\u00fdch produkt\u016f[2]<\/a>, by byla pr\u00e1v\u011b proto \u0161koda rezignovat na etick\u00e9 rozm\u011bry pr\u00e1ce kritik\u016f. I kdy\u017e to v\u011bt\u0161ina sou\u010dasn\u00fdch i minul\u00fdch redaktor\u016f \u0159ady aktivn\u00edch i ji\u017e zanikl\u00fdch periodik nerada p\u0159izn\u00e1 (vzhledem k tlaku na p\u0159e\u017eit\u00ed t\u011bchto platforem se jim vlastn\u011b ani nejde divit), \u017ee v\u011bt\u0161ina z nich n\u011bjak\u00fdm zp\u016fsobem opakovan\u011b umo\u017enila poru\u0161it to, co bychom se mohli pokusit na n\u011bkolik r\u016fzn\u00fdch zp\u016fsob\u016f definovat jako etick\u00e9 z\u00e1klady pr\u00e1ce v\u00fdtvarn\u00fdch kritik\u016f (a vlastn\u011b i kvalitn\u00ed novin\u00e1\u0159sk\u00e9 pr\u00e1ce). Pr\u00e1v\u011b \u0161\u00e9fredakto\u0159i i ostatn\u00ed redakto\u0159i z t\u011bchto n\u011bkolika periodik p\u0159itom v\u017edy byli jedn\u00edm z m\u00e1la kontroln\u00edch n\u00e1stroj\u016f, kter\u00fd vedle o\u010dek\u00e1vateln\u00e9 sebereflexe samotn\u00fdch kritik\u016f, poskytuje n\u011bjak\u00fd n\u00e1stroj, jak se podobn\u00fdm st\u0159et\u016fm z\u00e1jm\u016f vyhnout. I proto by bylo nejsp\u00ed\u0161e mnohem vhodn\u011bj\u0161\u00ed alespo\u0148 trochu tuto t\u00edhu zodpov\u011bdnosti a problematick\u00fdch voleb z ji\u017e tak zat\u00ed\u017een\u00fdch ramen redaktor\u016f um\u011bleck\u00fdch periodik sejmout. Jednou z cest je mo\u017en\u00e1 pr\u00e1v\u011b alespo\u0148 n\u011bjak\u00fd ji\u017e zm\u00edn\u011bn\u00fd \u201eetick\u00fd kodex\u201c, kter\u00fd by nejen definoval pochopiteln\u00e1 pravidla, ale sou\u010dasn\u011b by i umo\u017enil a n\u011bjak pomohl pochopit a vymezit \u00faskal\u00ed, kter\u00e1 jsou s nimi v b\u011b\u017en\u00e9m um\u011bleck\u00e9m provozu spojena.<\/p>\n\n\n\n Z v\u00fd\u0161e zm\u00edn\u011bn\u00e9ho n\u00e1m vypl\u00fdv\u00e1 n\u011bkolik bod\u016f, kter\u00e9 bychom m\u011bli do dan\u00e9ho kodexu nejsp\u00ed\u0161e zahrnout. Prvn\u00edm z nich je tedy moment, kdo a z jak\u00e9ho d\u016fvodu vyb\u00edr\u00e1 a zad\u00e1v\u00e1 t\u00e9mata publikovan\u00fdch recenz\u00ed. Zat\u00edmco p\u0159\u00edm\u00e1 volba redaktora a jeho osloven\u00ed kritika je asi nejlegitimn\u011bj\u0161\u00ed \u0159e\u0161en\u00ed, za podobn\u011b adekv\u00e1tn\u00ed lze nejsp\u00ed\u0161e pokl\u00e1dat i z\u00e1jem samotn\u00e9ho kritika o naps\u00e1n\u00ed recenze v\u00fdstavy \u010di podobn\u00e9ho textu, pokud nen\u00ed s\u00e1m p\u0159\u00edmo ve st\u0159etu z\u00e1jm\u016f (zde je asi nezpochybniteln\u00fdm st\u0159etem p\u0159edev\u0161\u00edm spolupr\u00e1ce s galeristy, hlavn\u011b v p\u0159\u00edpad\u011b komer\u010dn\u00edch galeri\u00ed, nem\u00e9n\u011b pak s \u0161iroce investuj\u00edc\u00edmi sb\u011brateli). Jako dilema lze ov\u0161em vn\u00edmat jin\u00fd obvykl\u00fd p\u0159\u00edpad, toti\u017e samotn\u00e1 spolupr\u00e1ce autora textu s dan\u00fdmi um\u011blci, a\u0165 ji\u017e formou psan\u00ed text\u016f k jejich v\u00fdstav\u00e1m \u010di kur\u00e1torskou spoluprac\u00ed. Je to kolize z\u00e1jm\u016f, kter\u00e1 je jak\u00fdmsi dlouhodob\u00fdm standardem (viz i zm\u00edn\u011bn\u00ed Diderot a Greenberg), je\u017e je na komorn\u00ed \u010desk\u00e9 um\u011bleck\u00e9 sc\u00e9n\u011b, kde se podstatn\u00e1 \u010d\u00e1st p\u0159\u00edpadn\u00fdch pisatel\u016f recenz\u00ed pohybuje v r\u00e1mci \u201etekut\u00fdch\u201c rol\u00ed, neust\u00e1le mutuj\u00edc\u00edch mezi \u00falohami kur\u00e1tora, kritika, teoretika \u010di t\u0159eba i \u010dlena grantov\u00fdch komis\u00ed, je\u0161t\u011b o to obvyklej\u0161\u00ed a v\u00fdrazn\u011bj\u0161\u00ed. Podobn\u00fdm st\u0159et\u016fm v z\u00e1jmech se v takov\u00fdch p\u0159\u00edpadech jde asi t\u011b\u017eko vyhnout a jedinou mo\u017enou m\u00edrou soudu je pak jen samotn\u00e1 kvalita a objektivita napsan\u00e9ho textu. Zde se ov\u0161em zase dost\u00e1v\u00e1me do pasti, spojen\u00e9 s mo\u017enost\u00ed objektivn\u00edho posouzen\u00ed takov\u00e9ho v\u00fdstupu, souvisej\u00edc\u00edho v \u010desk\u00e9m prost\u0159ed\u00ed o to v\u00edce s ji\u017e p\u0159edefinovan\u00fdmi preferencemi.<\/p>\n\n\n\n Pon\u011bkud specifick\u00fdm probl\u00e9mem, jeho\u017e existenci v\u00e1m nejsp\u00ed\u0161e ka\u017ed\u00fd redaktor pop\u0159e, p\u0159esto\u017ee nejde ve sv\u011btov\u00e9m i \u010desk\u00e9m kontextu o t\u00e9to praxi pochybovat, je jak\u00e9si p\u0159edplatn\u00e9, jeho\u017e pomoc\u00ed si za ur\u010dit\u00e9 \u010d\u00e1stky galerijn\u00ed instituce \u201ep\u0159edplat\u00ed\u201c pozornost redaktor\u016f dan\u00e9ho periodika p\u0159i v\u00fdb\u011bru recenz\u00ed v pr\u016fb\u011bhu ur\u010dit\u00e9ho \u010dasov\u00e9ho obdob\u00ed \u010di si p\u0159\u00edmo zaplat\u00ed ur\u010dit\u00e9 \u010dl\u00e1nky ve form\u011b, j\u00ed\u017e by \u0161lo pokl\u00e1dat za skrytou reklamu. Lze ch\u00e1pat periodika, \u017ee je to pro n\u011b jeden ze zdroj\u016f p\u0159\u00edjm\u016f, kter\u00fd zabra\u0148uje aby se staly pouh\u00fdmi souhrny reklam, i tak ale z dan\u00e9 syst\u00e9mov\u00e9 chyby vid\u00edm jen jedinou cestu ven \u2013 povinnost takov\u00e9 \u010dl\u00e1nky ozna\u010dovat jako placenou propagaci.<\/p>\n\n\n\n M\u016f\u017eeme skute\u010dn\u011b v\u0161echny zm\u00edn\u011bn\u00e9 eticky problematick\u00e9 spletence z\u00e1jm\u016f rozmotat a p\u011bkn\u011b napnout v p\u0159\u00edm\u00fdch lini\u00edch p\u0159es kolektivn\u00ed ment\u00e1ln\u00ed prostor kulturn\u00ed ve\u0159ejnosti pomoc\u00ed pouh\u00e9ho legislativn\u00edho modelu? Odpov\u011b\u010f nen\u00ed jednozna\u010dn\u00e1, ji\u017e proto, \u017ee ani v mezin\u00e1rodn\u00edm prost\u0159ed\u00ed zat\u00edm nikdo v\u011bt\u0161inu zm\u00edn\u011bn\u00fdch probl\u00e9m\u016f nedok\u00e1zal vy\u0159e\u0161it. Dalo by se naopak \u0159\u00edct, \u017ee \u0159ada ekonomick\u00fdch i institucion\u00e1ln\u00edch limit\u016f spojen\u00fdch s dom\u00e1c\u00ed sc\u00e9nou ji po t\u0159i desetilet\u00ed po roce 1989 vylo\u017een\u011b chr\u00e1nila p\u0159ed mnohem vyhran\u011bn\u011bj\u0161\u00ed komercionalizac\u00ed, a t\u00edm p\u00e1dem i p\u0159ed tlakem na \u0159adu mor\u00e1ln\u011b problematick\u00fdch voleb. Mezin\u00e1rodn\u00ed sv\u011bt um\u011bn\u00ed, nerozd\u011bliteln\u011b propojen\u00fd s ohromn\u00fdmi investicemi a ekonomick\u00fdmi hrami s plovouc\u00ed hodnotou estetick\u00fdch komodit, se v\u0161ak v posledn\u00ed dob\u011b st\u00e1v\u00e1 pomalu ide\u00e1ln\u00edm vzorem i v \u010desk\u00e9m prost\u0159ed\u00ed, jak o tom sv\u011bd\u010d\u00ed i ji\u017e nazna\u010den\u00fd v\u00fdrazn\u00fd n\u00e1r\u016fst vlivu movit\u00fdch sb\u011bratel\u016f a investor\u016f do sou\u010dasn\u00e9ho um\u011bn\u00ed. I na zm\u00edn\u011bn\u00e9 mezin\u00e1rodn\u00ed sc\u00e9n\u011b v p\u0159\u00edpad\u011b mo\u017en\u00e9ho etick\u00e9ho kodexu v podstat\u011b z\u016fstalo u pouh\u00fdch n\u00e1vrh\u016f. Diskuze se ov\u0161em to\u010d\u00ed p\u0159edev\u0161\u00edm kolem dvou mo\u017en\u00fdch p\u0159\u00edstup\u016f: zat\u00edmco prvn\u00ed z nich je normativn\u00ed \u2013 sna\u017e\u00ed se ustanovit p\u0159esn\u00e1 pravidla hry formou onoho kodexu, druh\u00fd \u2013 mnohem v\u00edce inspirovan\u00fd onou pru\u017enou a prom\u011bnlivou rol\u00ed \u0159ady lid\u00ed mezi um\u011blcem, kur\u00e1torem, teoretikem i kritikem, s\u00e1z\u00ed p\u0159edev\u0161\u00edm na pon\u011bkud idealistickou vizi demokratizace formou vz\u00e1jemn\u00e9 kolaborace a analogicky komunitn\u011b budovan\u00e9 formy financov\u00e1n\u00ed, odli\u0161n\u00e9 od sou\u010dasn\u00e9ho a rozt\u0159\u00ed\u0161t\u011bn\u00ed a de facto vyko\u0159is\u0165ov\u00e1n\u00ed velk\u00e9 \u010d\u00e1sti \u010dlen\u016f komunity, pod\u00edlej\u00edc\u00edch se na provozu a aktivit\u00e1ch um\u011bleck\u00e9 sc\u00e9ny, prost\u0159ednictv\u00edm investory a obchodn\u00edky ovl\u00e1dan\u00e9ho syst\u00e9mu.[3]<\/a><\/p>\n\n\n\n Vhodn\u00e9 \u0159e\u0161en\u00ed, ke kter\u00e9mu bychom m\u011bli sm\u011b\u0159ovat, nejsp\u00ed\u0161e le\u017e\u00ed n\u011bkde mezi t\u011bmito dv\u011bma p\u00f3ly. Zd\u00e1nliv\u011b individualistick\u00e1 pozice kritika sou\u010dasn\u00e9ho um\u011bn\u00ed, kter\u00e1 m\u00e1 garantovat i nez\u00e1vislost jeho soud\u016f, je p\u0159ece jenom sp\u00ed\u0161e iluz\u00ed. Ve v\u011bt\u0161in\u011b p\u0159\u00edklad\u016f je schopnost p\u0159ibl\u00ed\u017eit \u010dten\u00e1\u0159\u016fm problematiku sou\u010dasn\u00e9ho um\u011bn\u00ed neodd\u011bliteln\u011b spojena i s on\u00edm vno\u0159en\u00edm se do provozu um\u011bleck\u00e9 sc\u00e9ny, osobn\u00edho kontaktu s um\u011blci i galeristy, o posunech v rol\u00edch mezi kur\u00e1tory, kritiky i \u0159adou dal\u0161\u00edch pozic ani nemluv\u011b. I to je d\u016fvodem pro\u010d by asi vhodnou cestou bylo ur\u010dit\u00e9 pos\u00edlen\u00ed cel\u00e9 t\u00e9to komunity, spojuj\u00edc\u00ed kritiky, jejich redaktory i dal\u0161\u00ed participanty n\u011bjakou institucion\u00e1ln\u00ed platformou, br\u00e1n\u00edc\u00ed z\u00e1jmy objektivity i nez\u00e1visl\u00fdch kulturn\u00edch aktivit p\u0159ed p\u0159ich\u00e1zej\u00edc\u00edmi \u201eochrann\u00fdmi\u201c mraky \u010d\u00edm d\u00e1l nar\u016fstaj\u00edc\u00ed moci a vlivu soukrom\u00e9ho patron\u00e1tu, zp\u011btn\u011b nav\u00e1zan\u00e9ho na finan\u010dn\u00ed z\u00e1jmy sm\u011b\u0159uj\u00edc\u00ed v\u011bt\u0161inou zcela mimo to, co by v\u011bt\u0161ina participant\u016f um\u011bleck\u00e9ho provozu mohla pokl\u00e1dat za z\u00e1jmy um\u011bleck\u00e9 komunity.<\/p>\n\n\n\n [1]<\/a> Viz nap\u0159\u00edklad: Kennicot, Philip: Can an art critic fairly review an artist friend\u2019s work?, Washington Post, 14. 3. 2016, dostupn\u00e9 na: https:\/\/www.washingtonpost.com\/news\/arts-and-entertainment\/wp\/2016\/03\/14\/can-an-art-critic-fairly-review-an-artist-friends-work\/<\/a><\/p>\n\n\n\n [2]<\/a> Viz i cyklus \u010cT Art v\u011bnovan\u00fd t\u00e9matu sb\u011bratel\u016f sou\u010dasn\u00e9ho um\u011bn\u00ed, kter\u00fd, analogicky jako \u0159ada ned\u00e1vn\u00fdch \u010dl\u00e1nk\u016f a rozhovor\u016f v masov\u00fdch m\u00e9di\u00edch jejich roli siln\u011b heroizuje (https:\/\/art.ceskatelevize.cz\/tema\/sberatele-umeni<\/a>).<\/p>\n\n\n\n [3]<\/a> Viz Keesling, Jamie: Can Art Criticism Be Both Collaborative and Ethical? Hyperallergic, 4. 3. 2021 (https:\/\/hyperallergic.com\/626690\/can-art-criticism-be-both-collaborative-and-ethical\/<\/a> ).<\/p>\n\n\n\n <\/p>\n\n\n\n Viktor \u010cech je kur\u00e1tor a kritik v\u00fdtvarn\u00e9ho um\u011bn\u00ed<\/em>.<\/p>\n","protected":false},"excerpt":{"rendered":" Byly \u010dasy, kdy vyj\u00e1d\u0159en\u00ed kritika k \u0159e\u0161en\u00ed a kvalit\u00e1m um\u011bleck\u00e9ho d\u00edla byly skute\u010dn\u00fdm autoritativn\u00edm a normativn\u00edm soudem, z\u00e1sadn\u011b ovliv\u0148uj\u00edc\u00edm nejen vn\u00edm\u00e1n\u00ed d\u00edla kulturn\u00ed ve\u0159ejnost\u00ed, ale v dob\u011b p\u0159ed vyu\u017e\u00edv\u00e1n\u00edm technick\u00e9ho zobrazen\u00ed d\u011bl, rovn\u011b\u017e \u010dasto prvn\u00edm zp\u016fsobem, jak\u00fdm se \u010dten\u00e1\u0159i s d\u00edly sezn\u00e1mili a vytvo\u0159ili si o nich prim\u00e1rn\u00ed p\u0159edstavu. Autoritativn\u00ed pozice, ze kter\u00e9 mohl vych\u00e1zet nap\u0159\u00edklad jeden z otc\u016f um\u011bleck\u00e9 kritiky, Denis Diderot, ve sv\u00fdch proslul\u00fdch zpr\u00e1v\u00e1ch z pa\u0159\u00ed\u017esk\u00fdch Sal\u00f3n\u016f, nicm\u00e9n\u011b byla spojen\u00e1 i s jeho \u0161ir\u0161\u00ed proslulost\u00ed jako\u017eto liter\u00e1ta a filozofa. Etick\u00fd rozm\u011br takov\u00e9ho p\u0159\u00edstupu, spojen\u00fd s mor\u00e1ln\u00edm \u00e9tosem osv\u00edcensk\u00e9ho filozofa, je v takov\u00e9m p\u0159\u00edpad\u011b nasnad\u011b, stejn\u011b jako jeho \u2192<\/a><\/p>\n","protected":false},"author":5,"featured_media":255,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-593","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/www.cenavj.cz\/index.php?rest_route=\/wp\/v2\/posts\/593","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.cenavj.cz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.cenavj.cz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.cenavj.cz\/index.php?rest_route=\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/www.cenavj.cz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=593"}],"version-history":[{"count":2,"href":"https:\/\/www.cenavj.cz\/index.php?rest_route=\/wp\/v2\/posts\/593\/revisions"}],"predecessor-version":[{"id":647,"href":"https:\/\/www.cenavj.cz\/index.php?rest_route=\/wp\/v2\/posts\/593\/revisions\/647"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.cenavj.cz\/index.php?rest_route=\/wp\/v2\/media\/255"}],"wp:attachment":[{"href":"https:\/\/www.cenavj.cz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=593"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.cenavj.cz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=593"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.cenavj.cz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=593"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}