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Na podzim roku 2024 se do pop\u0159ed\u00ed diskuse o kritice sou\u010dasn\u00e9ho um\u011bn\u00ed dostal text Deana Kissicka s n\u00e1zvem The Painted Protest: How Politics Destroyed Contemporary Art<\/em>. Tato debata otev\u0159ela z\u00e1sadn\u00ed ot\u00e1zky o roli um\u011bleck\u00e9 kritiky v dne\u0161n\u00ed spole\u010dnosti, je\u017e je st\u00e1le v\u00edce polarizov\u00e1na politick\u00fdmi a kulturn\u00edmi rozpory. Kissick v \u010dl\u00e1nku publikovan\u00e9m na str\u00e1nk\u00e1ch Harper\u2019s Magazine <\/em>kritizuje podle n\u011bj dominantn\u00ed sm\u011br sou\u010dasn\u00e9ho um\u011bn\u00ed,kter\u00fd up\u0159ednost\u0148uje politick\u00e9 a soci\u00e1ln\u011b aktivistick\u00e9 kontexty, a argumentuje, \u017ee tento p\u0159\u00edstup oslabuje estetick\u00e9 hodnoty um\u011bn\u00ed a pota\u017emo odvrac\u00ed pozornost od hled\u00e1n\u00ed kr\u00e1sy, originality \u010di inovace. Nejedn\u00e1 se p\u0159itom o novou my\u0161lenku \u2013 podobn\u00fd n\u00e1zor, \u017ee um\u011bn\u00ed figuruje coby ilustrace teori\u00ed kritick\u00e9 obce, vyslovil americk\u00fd novin\u00e1\u0159 Tom Wolf ve sv\u00e9 knize The Painted Word<\/em> (1975), kter\u00e1 byla poprv\u00e9 shodou n\u00e1hod rovn\u011b\u017e publikov\u00e1na v Harper’s. <\/p>\n\n\n\n Kissick\u016fv \u010dl\u00e1nek se zam\u011b\u0159uje na obdob\u00ed kolem roku 2016, kdy \u00fadajn\u011b do\u0161lo k v\u00fdrazn\u011bj\u0161\u00edmu propojen\u00ed um\u011bn\u00ed s politikou. Jako kl\u00ed\u010dov\u00fd moment ozna\u010duje \u010dtrn\u00e1ctou Documentu (2017), jednu z nejv\u00fdznamn\u011bj\u0161\u00edch p\u0159ehl\u00eddek sou\u010dasn\u00e9ho v\u00fdtvarn\u00e9ho um\u011bn\u00ed, konaj\u00edc\u00ed se ka\u017ed\u00fdch p\u011bt let v n\u011bmeck\u00e9m Kasselu. Tento ro\u010dn\u00edk s podtitulem Pou\u010dit se z Ath\u00e9n<\/em>, pod veden\u00edm polsk\u00e9ho kur\u00e1tora Adama Szymczyka, poprv\u00e9 roz\u0161\u00ed\u0159il v\u00fdstavu mimo Kassel do \u0159eck\u00fdch Ath\u00e9n, \u010d\u00edm\u017e reagoval na \u0159eckou dluhovou krizi z po\u010d\u00e1tku desetilet\u00ed a z\u00e1rove\u0148 pouk\u00e1zal na Ath\u00e9ny jako symbolick\u00e9 m\u00edsto propojuj\u00edc\u00ed severoz\u00e1padn\u00ed zem\u011b, Evropu a glob\u00e1ln\u00ed Jih. C\u00edlem p\u0159ehl\u00eddky tak byla reflexe geopolitick\u00e9 dynamiky a snaha decentralizovat a dekolonizovat dominantn\u00ed narativy spojen\u00e9 se statutem quo finan\u010dn\u00edho kapitalismu. Kissick\u016fv text na sebe nenechal dlouho \u010dekat. Reagovali na n\u011bj nap\u0159\u00edklad v Berl\u00edn\u011b us\u00eddlen\u00fd kritik Martin Herbert (Are You Too Old for the Artworld<\/em>, ArtReview.com), americk\u00fd kritik Saul Ostrow (Art\u2019s Political Economy: A Response to Dean Kissick<\/em>, TwoCoatsofPaint.com) nebo um\u011blec Ajay Kurian (Make Art Great Again? A Response to the Nostalgia and Backlash in Dean Kissick\u2019s Clickbait Manifesto<\/em>, CulturedMag.com). V\u0161ichni se shodli, \u017ee politizace nen\u00ed probl\u00e9mem, ale sp\u00ed\u0161e p\u0159irozenou reakc\u00ed um\u011bn\u00ed na prom\u011bny spole\u010dnosti. Za\u010dlen\u011bn\u00ed politick\u00fdch t\u00e9mat do um\u011bleck\u00e9ho vyj\u00e1d\u0159en\u00ed odr\u00e1\u017e\u00ed \u0161ir\u0161\u00ed kulturn\u00ed posun a nen\u00ed v rozporu s estetick\u00fdmi hodnotami um\u011bn\u00ed. Nav\u00edc upozornili na nostalgick\u00fd t\u00f3n Kissickovy kritiky, kter\u00e1 vzpom\u00edn\u00e1 na \u201ezlatou \u00e9ru\u201c um\u011bn\u00ed. <\/p>\n\n\n\n Mo\u017en\u00e1, \u017ee Kissickova frustrace odr\u00e1\u017e\u00ed ji\u017e klasick\u00fd konflikt mezi generacemi \u2013 st\u0159et mezi \u201estar\u00fdmi\u201c a \u201emlad\u00fdmi\u201c, kter\u00fd prov\u00e1z\u00ed p\u0159irozen\u00e9 prom\u011bny um\u011bleck\u00e9 sc\u00e9ny, je\u017e \u010del\u00ed hrozb\u00e1m nov\u00e9ho typu. A kone\u010dn\u011b, nen\u00ed to bu\u010f, anebo. Kissick jako by opom\u00edjel mo\u017enost koexistence r\u016fzn\u00fdch p\u0159\u00edstup\u016f k um\u011bn\u00ed a to, \u017ee druh um\u011bn\u00ed, je\u017e kritizuje, neexistuje v prostoduch\u00e9 \u010dernob\u00edl\u00e9 \u00fase\u010dce. Zab\u00fdvat se \u201ep\u0159edstavivost\u00ed, probouzet v\u011bdom\u00ed, otev\u00edrat port\u00e1ly do tajemna, p\u0159esahovat sv\u016fj p\u0159edm\u011bt\u201c dok\u00e1\u017ee i um\u011bn\u00ed, kter\u00e9 se zab\u00fdv\u00e1 nap\u0159\u00edklad politikou identit \u010di kritizuje \u00fa\u010dinky modern\u00edch technologi\u00ed.<\/p>\n\n\n\n Diskuse o v\u00fdtvarn\u00e9m um\u011bn\u00ed u\u017e d\u00e1vno p\u0159ekra\u010duje pouh\u00e9 estetick\u00e9 hodnocen\u00ed. Um\u011bleck\u00e1 kritika tak nen\u00ed jen posuzov\u00e1n\u00edm d\u011bl; je dialogem, kter\u00fd pom\u00e1h\u00e1 um\u011blc\u016fm i instituc\u00edm artikulovat jejich v\u00fdznam v kulturn\u00edm a soci\u00e1ln\u00edm kontextu a st\u00e1le v\u00edce se zam\u011b\u0159uje na vztah um\u011bn\u00ed k \u0161ir\u0161\u00edm spole\u010densk\u00fdm probl\u00e9m\u016fm. Jedn\u00e1 se o proaktivn\u00ed a kreativn\u00ed n\u00e1stroj, kter\u00fd podporuje r\u016fst um\u011bn\u00ed a hlub\u0161\u00ed reflexi, je v\u00fdchoz\u00edm bodem, nikoli koncem diskuse. S ohledem na listopadov\u00fd volebn\u00ed v\u00fdsledek ve St\u00e1tech, n\u00e1rust fa\u0161istick\u00fdch tendenc\u00ed v z\u00e1padn\u00edch zem\u00ed a i pal\u010div\u00e9 situaci odehr\u00e1vaj\u00edc\u00ed se hned za tuzemsk\u00fdmi hranicemi na Slovensku nelze o\u010dek\u00e1vat, \u017ee se um\u011bn\u00ed bude zab\u00fdvat pouze form\u00e1ln\u00edmi hr\u00e1tkami. Pouze redefinic\u00ed role kritiky m\u016f\u017eeme doufat v to, co si Kissick p\u0159eje \u2013 um\u011bn\u00ed, je\u017e je odv\u00e1\u017en\u00e9, inovativn\u00ed a imaginativn\u00ed. Jak autor s\u00e1m uzav\u00edr\u00e1: \u201eSt\u00e1le je co si p\u0159edstavovat.\u201c<\/em><\/p>\n\n\n\n <\/p>\n\n\n\n Eva Slab\u00e1 je kur\u00e1torka, kriti\u010dka a teoreti\u010dka v\u00fdtvarn\u00e9ho um\u011bn\u00ed. Od jara 2024 vede Cenu V\u011bry Jirousov\u00e9.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":" Na podzim roku 2024 se do pop\u0159ed\u00ed diskuse o kritice sou\u010dasn\u00e9ho um\u011bn\u00ed dostal text Deana Kissicka s n\u00e1zvem The Painted Protest: How Politics Destroyed Contemporary Art. Tato debata otev\u0159ela z\u00e1sadn\u00ed ot\u00e1zky o roli um\u011bleck\u00e9 kritiky v dne\u0161n\u00ed spole\u010dnosti, je\u017e je st\u00e1le v\u00edce polarizov\u00e1na politick\u00fdmi a kulturn\u00edmi rozpory. Kissick v \u010dl\u00e1nku publikovan\u00e9m na str\u00e1nk\u00e1ch Harper\u2019s Magazine kritizuje podle n\u011bj dominantn\u00ed sm\u011br sou\u010dasn\u00e9ho um\u011bn\u00ed,kter\u00fd up\u0159ednost\u0148uje politick\u00e9 a soci\u00e1ln\u011b aktivistick\u00e9 kontexty, a argumentuje, \u017ee tento p\u0159\u00edstup oslabuje estetick\u00e9 hodnoty um\u011bn\u00ed a pota\u017emo odvrac\u00ed pozornost od hled\u00e1n\u00ed kr\u00e1sy, originality \u010di inovace. Nejedn\u00e1 se p\u0159itom o novou my\u0161lenku \u2013 podobn\u00fd n\u00e1zor, \u017ee um\u011bn\u00ed figuruje coby \u2192<\/a><\/p>\n","protected":false},"author":5,"featured_media":495,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-617","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\/617","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=617"}],"version-history":[{"count":2,"href":"https:\/\/www.cenavj.cz\/index.php?rest_route=\/wp\/v2\/posts\/617\/revisions"}],"predecessor-version":[{"id":633,"href":"https:\/\/www.cenavj.cz\/index.php?rest_route=\/wp\/v2\/posts\/617\/revisions\/633"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.cenavj.cz\/index.php?rest_route=\/wp\/v2\/media\/495"}],"wp:attachment":[{"href":"https:\/\/www.cenavj.cz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=617"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.cenavj.cz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=617"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.cenavj.cz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=617"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Kdy\u017e v\u0161ak Kissick nav\u0161t\u00edvil posledn\u00ed Ben\u00e1tsk\u00e9 bien\u00e1le, zd\u00e1 se, \u017ee byl nep\u0159\u00edjemn\u011b konfrontov\u00e1n. P\u016fvodn\u00ed nad\u0161en\u00ed z \u010dtrn\u00e1ct\u00e9 Dokumenty, u kter\u00e9ho byl navykl\u00fd na kritick\u00e9 konceptu\u00e1ln\u00ed um\u011bn\u00ed kasselsk\u00e9ho typu, nahradil pocit ho\u0159kosti \u2013 atmosf\u00e9ra t\u00e9to p\u0159ehl\u00eddky se p\u0159elila i na bien\u00e1le, p\u016fvodn\u011b spjat\u00e9 s \u201eotev\u0159en\u00fdmi bary, sexem a glamour\u201c (jeho slovy), aby vyhov\u011bla nov\u00e9mu \u00e9tosu um\u011bleck\u00e9 ctnosti. T\u00e9mata imigrace, kulturn\u00ed diverzity a humanit\u00e1rn\u00edch kriz\u00ed, je\u017e dominovala \u0161edes\u00e1t\u00e9mu ro\u010dn\u00edku nazvan\u00e9mu Strangers Everywhere \u2013 Foreigners Everywhere<\/em>, ost\u0159e kontrastovala s obdob\u00edm devades\u00e1t\u00fdch let a po\u010d\u00e1tkem nov\u00e9ho tis\u00edcilet\u00ed, kdy Kissick nach\u00e1zel v um\u011bn\u00ed pluralitu. Podle n\u011bj byl tento tv\u016fr\u010d\u00ed potenci\u00e1l vym\u011bn\u011bn za nevynal\u00e9zav\u00e1 d\u00edla, p\u0159izp\u016fsoben\u00e1 p\u0159evl\u00e1daj\u00edc\u00edm spole\u010densk\u00fdm a politick\u00fdm diskurz\u016fm.<\/p>\n\n\n\n