{"id":3625,"date":"2016-08-17T21:44:59","date_gmt":"2016-08-17T21:44:59","guid":{"rendered":"http:\/\/www.artinbox.cz\/?p=3625"},"modified":"2018-02-23T22:24:55","modified_gmt":"2018-02-23T22:24:55","slug":"alchymie-akce-%e2%80%93-fotografie-vaclava-zykmunda-2-9-11-10-2016","status":"publish","type":"post","link":"https:\/\/www.artinbox.cz\/?p=3625","title":{"rendered":"V\u00e1clav Zykmund"},"content":{"rendered":"

\"\"<\/a><\/p>\n

Alchymie akce \u2013 Fotografie V\u00e1clava Zykmunda<\/strong><\/p>\n

v\u00fdstava prodlou\u017eena do 3. 11. 2016!<\/em><\/strong><\/p>\n

2. 9. \u2013 3. 11. 2016
\nKur\u00e1torka:\u00a0Suzanne Pastor<\/a><\/p>\n

Vz\u00e1cn\u00e1 mo\u017enost zhl\u00e9dnout \u010dist\u011b fotografickou tvorbu V\u00e1clava Zykmunda, pr\u016fkopn\u00edka \u010desk\u00e9 surrealistick\u00e9 fotografie, um\u011bn\u00ed akce, \u010di „performance“, \u010dlena skupiny Ra. Jeho experiment\u00e1ln\u00ed fotografick\u00e1 tvorba byla v \u010cesk\u00e9 republice samostatn\u011b p\u0159edstavena jen jednou, v r. 1993 v Pra\u017esk\u00e9m dom\u011b fotografie. Te\u010f, po t\u00e9m\u011b\u0159 \u010dtvrt stolet\u00ed bude toto pr\u016fkopnick\u00e9 fotografick\u00e9 d\u00edlo op\u011bt zp\u0159\u00edstupn\u011bno \u010desk\u00e9mu publiku. V kontextu na\u0161\u00ed v\u00fdstavy rovn\u011b\u017e p\u0159edstavujeme v samostatn\u00e9 sekci fotografie dal\u0161\u00edch \u010dlen\u016f skupiny Ra: Milo\u0161e Kore\u010dka, Vil\u00e9ma Reichmanna a Josefa Istlera. <\/strong><\/p>\n

\u201eFotografie tedy m\u016f\u017ee b\u00fdt um\u011bleck\u00fdm d\u00edlem tehdy, uplat\u0148uje-li se v procesu jej\u00ed tvorby subjektivn\u00ed, obrazn\u00e1 str\u00e1nka lidsk\u00e9 psychiky vedouc\u00ed k estetick\u00e9mu osvojov\u00e1n\u00ed sv\u011bta.\u201c (Zykmund V. Um\u011bn\u00ed, kter\u00e9 mohou d\u011blat v\u0161ichni? Praha: Orbis 1968: 77.)<\/p>\n

Ud\u00e1lost m\u016f\u017eete sledovat a \u00fa\u010dast potvrdit zde:https:\/\/www.facebook.com\/events\/624712701022299\/<\/a><\/p>\n

<\/a>Fotografie z v\u00fdstavy a vernis\u00e1\u017ee zde:https:\/\/www.facebook.com\/ArtinboxGallery\/photos\/?tab=album&album_id=1056841351055219<\/a><\/p>\n

<\/a>Text Josefa Mouchy o V. Zykmundovi zde:https:\/\/www.facebook.com\/notes\/artinbox-galerie-fotografie\/v\u00e1clav-zykmund-text-josef-moucha\/1210726455646442<\/a><\/p>\n

http:\/\/martinfryc.eu\/vystavy\/vernisaz-vystavy-alchymie-akce-fotografie-vaclava-zykmunda\/<\/a><\/p>\n

Pra\u017esk\u00fd den\u00edk o v\u00fdstav\u011b:\u00a0http:\/\/prazsky.denik.cz\/kultura_region\/vystava-predstavuje-prukopnika-surrealisticke-fotografie-zykmunda-20160902.html<\/a><\/p>\n

Rozhovor o v\u00fdstav\u011b pro \u010cesk\u00fd rozhlas nato\u010dil se Suzanne Pastor a Nadiou Rovderovou Karel Oujezdsk\u00fd, od 18:14 minuty k poslechu zde:http:\/\/prehravac.rozhlas.cz\/audio\/3696843<\/a><\/p>\n

\u010casopis FOTO o v\u00fdstav\u011b:\u00a0http:\/\/www.casopis-foto.cz\/alchymie-akce-fotografie…\/<\/a><\/p>\n

Fotografick\u00e9 d\u00edlo V\u00e1clava Zykmunda (Praha 1914 \u2013 Brno 1984), plodn\u00e9ho um\u011blce, publicistu, teoretika a u\u010ditele, p\u0159edn\u00edho \u010dlena Brn\u011bnsk\u00e9 um\u011bleck\u00e9 skupin\u011b Ra, se z\u0159\u00eddka vystavuje odd\u011blen\u011b od jeho kol\u00e1\u017e\u00ed, maleb a kreseb. Jeho prvn\u00ed v\u00fdstava se konala v roce 1993 v Pra\u017esk\u00e9m Dom\u011b Fotografie. K v\u00fdstav\u011b byl tehdy vyd\u00e1n rovn\u011b\u017e katalog. Mezit\u00edm se stal V\u00e1clav Zykmund v\u00edc a v\u00edc zn\u00e1m\u00fd mezin\u00e1rodn\u00edmu publiku, zat\u00edmco v \u010cech\u00e1ch z\u016fst\u00e1val pom\u011brn\u011b nezn\u00e1m\u00fd. Na v\u00fdznam jeho tvorby reaguj\u00ed historici um\u011bn\u00ed, soukrom\u00ed sb\u011bratel\u00e9, kur\u00e1to\u0159i galeri\u00ed a muze\u00ed z cel\u00e9ho sv\u011bta. Fotografie V. Zykmunda jsou nezbytn\u00fdm p\u0159\u00edsp\u011bvkem k historii \u010cesk\u00e9 modern\u00ed fotografie, obzvl\u00e1\u0161t\u011b v r\u00e1mci kontextu surrealismu. Anton\u00edn Dufek, kur\u00e1tor Moravsk\u00e9 Galerie v Brn\u011b, zd\u016fraznil, \u017ee to byl pr\u00e1v\u011b V\u00e1clav Zykmund, kdo prvn\u00ed pou\u017eil fotografii k dokumentaci um\u011bn\u00ed akce \u010di \u201ehappeningu\u201c, a to u\u017e v letech 1944-45 spolu s \u010dleny skupiny Ra v Brn\u011b. Skupinu tvo\u0159ily: V\u00e1clav Zykmund, Vil\u00e9m Reichmann, Milo\u0161 Kore\u010dek, Ludv\u00edk Kundera, Bohdan Lacina, Josef Istler, a ostatn\u00ed.<\/p>\n

Nejv\u011bt\u0161\u00ed zaj\u00edmavost\u00ed v r\u00e1mci na\u0161\u00ed v\u00fdstavy je p\u0159edstaven\u00ed nesm\u00edrn\u011b vz\u00e1cn\u00e9 origin\u00e1ln\u00ed kopie publikace V\u00fdhru\u017en\u00ed Kompas. Jedn\u00e1 se o ru\u010dn\u011b v\u00e1zan\u00e9 vyd\u00e1n\u00ed s 16 origin\u00e1ln\u00edmi fotografiemi prov\u00e1zen\u00fdmi strojopisn\u00fdm textem Ludv\u00edka Kundery, surrealistick\u00e9ho b\u00e1sn\u00edka a \u010dlena skupiny Ra. Sn\u00edmky byly vytvo\u0159eny b\u011bhem jedn\u00e9 ze s\u00e9rie celono\u010dn\u00edch \u201eakc\u00ed\u201c, v r\u00e1mci kter\u00e9 \u00fa\u010dastn\u00edci hledali a vytv\u00e1\u0159eli neobvykl\u00e9 vztahy mezi r\u016fzn\u00fdmi objekty, p\u0159\u00edpadn\u011b mezi t\u011bmito objekty a \u010dleny skupiny. Akce se \u00fa\u010dastnily rovn\u011b\u017e partnerky \u010dlen\u016f skupiny, na fotografi\u00edch p\u00f3zuj\u00ed s rukavicemi, s hrac\u00edmi kartami \u010di kv\u011btin\u00e1\u010di.<\/p>\n

V kontextu na\u0161\u00ed v\u00fdstavy rovn\u011b\u017e p\u0159edstavujeme v samostatn\u00e9 sekci fotografie dal\u0161\u00edch \u010dlen\u016f skupiny Ra: Milo\u0161e Kore\u010dka, Vil\u00e9ma Reichmanna a Josefa Istlera.<\/p>\n

Za zap\u016fj\u010den\u00ed d\u011bl d\u011bkujeme: Alena Zykmundov\u00e1, Muzeum um\u011bn\u00ed Olomouc, Galerie Kicken Berlin, Suzanne Pastor.<\/p>\n

Technick\u00e1 spolupr\u00e1ce \/ technical cooperation: Nadia Rovderov\u00e1, Philippe Joseph, Odessa Primus, Dana Michlov\u00e1, Natalija Tripalo, Libor \u0160t\u011brba, Anton\u00edn Vr\u0148\u00e1k…<\/p>\n

Celoro\u010dn\u00ed v\u00fdstavn\u00ed program galerie Artinbox podpo\u0159ili:
\nMestsk\u00e1 \u010d\u00e1st, Praha 1, Magistr\u00e1t hlavn\u00edho m\u011bsta Prahy
\nAlchemy of Action – V\u00e1clav Zykmund and Photography<\/p>\n

—————————————————————————————————<\/p>\n

2. 9. \u2013 3. 11. 2016<\/p>\n

Curated by: Suzanne Pastor<\/p>\n

Alena Zykmundova, Zykmund\u2019s widow, will be present at the opening.<\/p>\n

Opening: 2nd of September 2016, 6 p.m.<\/p>\n

Artinbox Gallery is pleased to present Vaclav Zykmund\u2019s photographs in Prague after more than 20 years.<\/p>\n

We thank the following lenders to the exhibition: Alena Zykmundova, Museum of Art Olomouc, Kicken-Berlin Gallery, Suzanne Pastor.<\/p>\n

The photographic work of Vaclav Zykmund (1914 Prague – 1984 Brno), a prolific artist, publicist, theoretician and teacher, has rarely been exhibited separate from his collages, paintings and drawings. The first exhibition and catalogue of his photographs was presented at Prague House of Photography in 1993. In the meantime, his important contribution to Czech surrealist photography, especially as a leading member of the Brno-based artist Group Ra, has become more familiar to international audiences, while remaining relatively unknown in the Czech Republic.<\/p>\n

The international importance of Vaclav Zykmund as a photographer has been proven by art historians, private collectors, gallery and museum curators from around the world. His photographs are indispensable to the history of Czech modernist photography, especially within the context of Surrealism. Antonin Dufek, curator of the Moravian Gallery in Brno, has emphasized that Zykmund was the first to employ photography to document \u201caction\u201d art, or \u201chappenings\u201d as early as 1944-45 with the Brno-based artist Group Ra (Vaclav Zykmund, Vilem Reichmann, Milos Korecek, Ludvik Kundera, Bohdan Lacina, Josef Istler, a.o.). Of especial interest in this exhibition is the presentation of an extremely rare original copy of Vyhruzny kompas\/Threatening compass, a hand-made publication with 16 original photographs accompanied by type-written text pages by Ludvik Kundera, surrealist poet and co-member of the Group Ra. The images were made during one of a series of night-long „actions,“ where ordinary objects were made to have extraordinary relationships with each other, or with various members of the group and their wives, posing with gloves, playing cards or flowerpots.<\/p>\n

Several works by Milo\u0161 Kore\u010dek, Vil\u00e9m Reichmann and Josef Istler will also be shown in the context of this exhibition.<\/p>\n

technical cooperation: Nadia Rovderov\u00e1, Odessa Primus, Dana Michlov\u00e1, Natalija Tripalo, Libor \u0160t\u011brba, Anton\u00edn Vr\u0148\u00e1k…<\/p>\n

Exhibition Program of Artinbox Gallery for year 2016 was supported by:
\nMestsk\u00e1 \u010d\u00e1st, Praha 1, Magistr\u00e1t hlavn\u00edho m\u011bsta Prahy<\/p>\n

Artinbox Gallery is pleased to present Vaclav Zykmund\u2019s photographs in Prague after more than 20 years.<\/p>\n

V\u00e1clav Zykmund<\/strong><\/p>\n

Text: Josef Moucha (c)<\/p>\n

z\u00a0knihy: Obrazy z\u00a0d\u011bjin fotografie \u010desk\u00e9 (2011), vydal Archiv v\u00fdtvarn\u00e9ho um\u011bn\u00ed o.s.<\/p>\n

<\/em><\/p>\n

\u201e[…] spont\u00e1nn\u00ed a neprogramovan\u00e1 fantazie prop\u016fj\u010duje v\u00fdsledn\u00e9 realit\u011b mnohem lid\u0161t\u011bj\u0161\u00ed momenty.\u201c<\/em><\/p>\n

V\u00e1clav Zykmund [Zykmund 1993, s. 22]<\/p>\n

Mal\u00ed\u0159 a teoretik V\u00e1clav Zykmund (1914\u20141984) vedl v letech 1960 a\u017e 1972 katedru v\u00fdtvarn\u00e9 v\u00fdchovy na Filosofick\u00e9 fakult\u011b University Palack\u00e9ho v Olomouci. Od roku 1972 nesm\u011bl a\u017e do konce \u017eivota ve vlasti vystavovat a texty zve\u0159ej\u0148oval pod kryc\u00edmi jm\u00e9ny \u2014 nap\u0159\u00edklad sv\u00e9 t\u0159et\u00ed \u017eeny, teoreti\u010dky um\u011bn\u00ed a v\u00fdtvarnice Aleny \u0160lachtov\u00e9, ale i pod dal\u0161\u00edmi pseudonymy \u2014 Libu\u0161e Kov\u00e1\u0159ov\u00e1, Taras \u0160tefek… [M\u017eykov\u00e1 1992].<\/p>\n

V obdob\u00ed 1933 a\u017e 1945 se Zykmund zab\u00fdval rovn\u011b\u017e fotografov\u00e1n\u00edm. Od funkcionalistick\u00fdch diagon\u00e1l m\u011bstsk\u00fdch scen\u00e9ri\u00ed p\u0159estoupil k uvoln\u011bn\u00fdm kreac\u00edm a experiment\u016fm, podn\u011bcovan\u00fdm surrealismem. Proskribovan\u00fd autor se nicm\u00e9n\u011b nevyskytl na z\u00e1sadn\u00edch tuzemsk\u00fdch p\u0159ehl\u00eddk\u00e1ch meziv\u00e1le\u010dn\u00e9 fotografick\u00e9 tvorby [Dufek 1981], zat\u00edmco byl zahrnut do repr\u00edz v Essenu i ve V\u00eddni [Eskildsen 1984].<\/p>\n

Roku 1940 p\u0159enesl V\u00e1clav Zykmund do Brna p\u0159edv\u00e1le\u010dn\u00e9 aktivity z Rakovn\u00edku, kde provozoval vedle fotografov\u00e1n\u00ed edici Ra, jej\u00ed\u017e n\u00e1zev odvodil roku 1937 od m\u00edsta vzniku; po v\u00e1lce p\u0159ijala toto pojmenov\u00e1n\u00ed cel\u00e1 brn\u011bnsk\u00e1 um\u011bleck\u00e1 skupina. V kv\u011btnu 1944 vydal Zykmund jako\u017eto sv\u00e9 vrcholn\u00e9 d\u00edlo v m\u00e9diu fotografie dvac\u00edtku se\u0161itk\u016f s titulem V\u00fdhru\u017en\u00fd kompas<\/em>: Vlepen\u00e9 sn\u00edmky doprov\u00e1zej\u00ed strojopisn\u00e9 texty b\u00e1sn\u00ed Ludv\u00edka Kundery. Fotografie vznikly p\u0159i jedn\u00e9 z akc\u00ed, jejich\u017e autorsk\u00e9 p\u0159ipomenut\u00ed poch\u00e1z\u00ed z let 1983 a 1984: \u201eAv\u0161ak ne\u0161lo jen o nez\u00e1vaznou hru, nebo\u0165 k n\u00ed se pojila persifl\u00e1\u017e, ironie a parodie, a tak v\u00fdsledek se v lec\u010dem\u017e ztoto\u017e\u0148oval s t\u00edm, co daleko pozd\u011bji bylo ozna\u010deno term\u00edny \u201aakce\u2018 \u010di \u201ahappening\u2018. S takov\u00fdm typem hry jsem za\u010dal kolem roku 1935. Do v\u00fdsledk\u016f, je\u017e vypl\u00fdvaly ze spontaneity, se prol\u00ednal lyrismus, jeho\u017e zdroje tkv\u011bly v tajemstv\u00ed, kter\u00fdm jsme obklopovali fotografovan\u00e9 objekty a vztahy mezi nimi. Na za\u010d\u00e1tku 40. let se tato v\u00edce m\u00e9n\u011b nez\u00e1vazn\u00e1 hra p\u0159em\u011bnila ve zcela neodolatelnou a ni\u010d\u00edm nekontrolovatelnou v\u00e1\u0161e\u0148, po\u010det akt\u00e9r\u016f se rozmno\u017eil, sch\u016fzky se konaly ve\u010der a na\u0161e aktivita trvala do \u010dasn\u00fdch hodin rann\u00edch. Fantazii se meze nekladly a kolektivn\u00ed hra, jej\u00ed\u017e \u201apracovn\u00ed\u2018 stadia zaznamen\u00e1val M. Kore\u010dek, hra bez sc\u00e9n\u00e1\u0159e, bez p\u0159edem p\u0159ipraven\u00e9ho pl\u00e1nu, s rekvizitami zcela n\u00e1hodn\u011b nalezen\u00fdmi, se rozv\u00edjela a\u017e na pomez\u00ed absurdna. Tak vzniklo n\u011bkolik cykl\u016f, z nich\u017e pouze jedin\u00fd \u2014 V\u00fdhru\u017en\u00fd kompas \u2014 byl rozmno\u017een […]. Po roce 1945 hry definitiv\u011b ustaly, na obzoru se objevily jin\u00e9 c\u00edle, nicm\u00e9n\u011b cykly z\u016fstaly v na\u0161\u00ed pam\u011bti natolik zafixov\u00e1ny, \u017ee dodnes c\u00edt\u00edm pot\u0159ebu v nich pokra\u010dovat a j\u00edt tak <\/em>za dne\u0161n\u00ed projevy tohoto typu, do kraj\u016f nezn\u00e1m\u00fdch a dosud nezmapovan\u00fdch\u201c<\/em> [Zykmund 1993, s. 21\u201322].<\/p>\n

Zmi\u0148ovan\u00fd vrstevn\u00edk Milo\u0161 Kore\u010dek byl spolu s Vil\u00e9mem Reichmannem dal\u0161\u00edm \u010dlenem Skupiny Ra, vyu\u017e\u00edvaj\u00edc\u00edm m\u00e9dia fotografie. Karel Teige jeho experiment\u00e1ln\u00ed pr\u016fm\u011bty tepeln\u00e9ho vr\u00e1sn\u011bn\u00ed negativu na pozitivn\u00ed pap\u00edr, vystaven\u00e9 v \u00fanoru 1947 v pra\u017esk\u00e9m Topi\u010dov\u011b salonu, ocenil jako \u201evelmi dobr\u00e9\u201c<\/em> [Teige 1994, s. 634]. Kore\u010dek rozv\u00edjel prvn\u00ed f\u00e1z\u00ed tvorby (1944\u20141948) n\u00e1hodn\u00fd objev, ozna\u010den\u00fd neologismem fokalk; dal\u0161\u00ed rozvoj laborov\u00e1n\u00ed na tomto principu n\u00e1sledoval po t\u0159iadvaceti letech [Klimpl 1985; P\u00e1tek 2003]. \u010ctvrt\u00fdm autorem z okruhu Ra, kter\u00fd se p\u0159echodn\u011b zmocnil m\u00e9dia fotografie, byl Josef Istler [Birgus 1999, s. 309].<\/p>\n

V\u00e1clav Zykmund se po v\u00e1lce fotografii v\u011bnoval v\u00fdhradn\u011b teoreticky, ani\u017e by p\u0159itom p\u0159ipom\u00ednal vlastn\u00ed tvorbu. Ud\u011blal jedinou v\u00fdjimku [Zykmund 1966]. Je to \u0161koda. V\u017edy\u0165 s\u00e1m napsal, \u017ee \u201ehistorik stoj\u00ed […] p\u0159ed \u00fakolem postihnout dobu nikoli na z\u00e1klad\u011b objektivistick\u00e9ho konstatov\u00e1n\u00ed jednotliv\u00fdch historick\u00fdch fakt\u016f, ale na z\u00e1klad\u011b zji\u0161t\u011bn\u00ed, co v t\u00e9to dob\u011b bylo nejvit\u00e1ln\u011bj\u0161\u00ed, nejschopn\u011bj\u0161\u00ed rozvoje a co znamenalo pro dal\u0161\u00ed pohyb v um\u011bn\u00ed pozitivn\u00ed p\u0159\u00ednos, tedy to, co znamenalo \u2014 p\u0159edev\u0161\u00edm ve sv\u00e9 metod\u011b \u2014 obohacen\u00ed toho procesu, kter\u00fdm si vytv\u00e1\u0159\u00edme citov\u00fd vztah ke sv\u011btu, v n\u011bm\u017e \u017eijeme\u201c<\/em> [Zykmund 1968, s. 77]. A z\u00e1rove\u0148 nekompromisn\u011b soudil: \u201eSama progresivnost nezvy\u0161uje spole\u010denskou v\u00fdznamnost, proto\u017ee progresivnost bez stabilizace, bez uskute\u010dn\u011bn\u00ed, bez proniknut\u00ed do v\u011bdom\u00ed spole\u010dnosti, nen\u00ed a nem\u016f\u017ee b\u00fdt progresivnost\u00ed\u201c<\/em> [Zykmund 1971].<\/p>\n

D\u016fvody Zykmundova ml\u010den\u00ed o pronikav\u00e9m osobn\u00edm pokou\u0161en\u00ed m\u00e9dia fotografie nazna\u010duj\u00ed jeho texty.<\/p>\n

P\u0159edev\u0161\u00edm je t\u0159eba \u0159\u00edci, \u017ee na ot\u00e1zku nadhozenou titulem knihy Um\u011bn\u00ed, kter\u00e9 mohou d\u011blat v\u0161ichni?<\/em>, zasv\u011bcen\u00e9 teorii fotografov\u00e1n\u00ed, odpov\u00edd\u00e1 stejnojmenn\u00e1 kapitola z\u00e1porn\u011b: ani fotografie nen\u00ed m\u00e9diem, kter\u00e9 by dovolilo uskute\u010dnit (nejen marxistickou) chim\u00e9ru, \u017ee si roli um\u011blce m\u016f\u017ee osvojit kde kdo: \u201efotografie je odv\u011btv\u00ed neoby\u010dejn\u011b roz\u0161\u00ed\u0159en\u00e9 a mal\u00e1 v\u00fdtvarn\u00e1 citlivost \u010detn\u00fdch fotograf\u016f, kte\u0159\u00ed \u017eij\u00ed v myln\u00e9m p\u0159esv\u011bd\u010den\u00ed, \u017ee jsou um\u011blci, zp\u016fsobuje ve fotografii nadprodukci k\u00fd\u010de\u201c <\/em>[Zykmund 1968, s. 60].<\/em> \u201eV modern\u00edm projevu se nesetk\u00e1v\u00e1me s ilustrac\u00ed my\u0161lenky, modern\u00ed d\u00edlo chce b\u00fdt d\u016fsledn\u011b my\u0161lenkou samou\u201c<\/em> [Zykmund 1968, s. 73].<\/em> \u201eFotografie tedy m\u016f\u017ee b\u00fdt um\u011bleck\u00fdm d\u00edlem tehdy, uplat\u0148uje-li se v procesu jej\u00ed tvorby<\/em> subjektivn\u00ed, obrazn\u00e1 str\u00e1nka lidsk\u00e9 psychiky vedouc\u00ed k estetick\u00e9mu osvojov\u00e1n\u00ed sv\u011bta\u201c<\/em> [Zykmund 1968, s. 34].<\/em><\/p>\n

Praktick\u00e1 zku\u0161enost s m\u00e9diem dala z\u00e1klad Zykmundovu zobec\u0148ov\u00e1n\u00ed. Uv\u011bdomoval si autonomii veli\u010din, jak\u00fdmi jsou volba okam\u017eiku expozice a jeho d\u00e9lky \u010di vlivy r\u016fzn\u00fdch mo\u017enost\u00ed zpracov\u00e1n\u00ed negativu i pozitivu. Zykmunda ale zam\u011bstn\u00e1valy ponejv\u00edce v\u00fdtvarn\u00e9 discipl\u00edny (a to i teoreticky), \u201enebo\u0165 fotografie v b\u011b\u017en\u00e9m slova smyslu se neobejde bez p\u0159edm\u011btn\u00e9 skute\u010dnosti; mal\u00ed\u0159sk\u00e9 d\u00edlo v\u017edy vy\u017eaduje v\u011bt\u0161\u00ed z\u00e1sahy subjektu ne\u017e fotografie, nebo\u0165 proces realizace mal\u00ed\u0159sk\u00e9ho d\u00edla je relativn\u011b slo\u017eit\u011bj\u0161\u00ed a vede sn\u00e1ze k osobitosti projevu ne\u017e u fotografie\u201c <\/em>[Zykmund 1968, s. 60].<\/em> Tak tomu ale nen\u00ed v\u017edy. Jaroslav R\u00f6ssler a po n\u011bm i Jarom\u00edr Funke ji\u017e ve 20. letech prakticky vyvr\u00e1tili Zykmund\u016fv v\u00fdrok \u201eabstraktn\u00ed fotografie ve skute\u010dnosti neexistuje, pracuje-li fotograf s fotografick\u00fdm p\u0159\u00edstrojem\u201c <\/em>[Zykmund 1968, s. 121].<\/em> Kniha, v n\u00ed\u017e to Zykmund tvrd\u00ed, vy\u0161la poprv\u00e9 v roce 1964, tedy v dob\u011b, kdy se R\u00f6ssler marn\u011b pokou\u0161el fotoabstrakce vystavit v Dom\u011b um\u011bn\u00ed m\u011bsta Brna. A rovn\u011b\u017e Franti\u0161ek Vobeck\u00fd budi\u017e p\u0159\u00edkladem, \u017ee ani druh\u00e1 \u010d\u00e1st uveden\u00e9 Zykmundovy my\u0161lenky neplat\u00ed n\u011bjak automaticky. Mal\u00ed\u0159sk\u00e1 pr\u00e1ce nemus\u00ed b\u00fdt slo\u017eit\u00e1 a v\u00e9st k osobitosti sn\u00e1ze ne\u017e fotografov\u00e1n\u00ed. P\u0159ipome\u0148me jen monochromatick\u00e9 malby… To ov\u0161em nevylu\u010duje, \u017ee se uvedenou sentenc\u00ed mohl V\u00e1clav Zykmund \u0159\u00eddit jako\u017eto v\u00fdkonn\u00fd um\u011blec p\u0159i stanovov\u00e1n\u00ed osobn\u00edch priorit.<\/p>\n

K ot\u00e1zk\u00e1m obecn\u00e9 teorie fotografie<\/em>, jak zn\u011bl roku 1970 nadpis \u00favodu k seri\u00e1lu pro m\u011bs\u00ed\u010dn\u00edk \u010ceskoslovensk\u00e1 fotografie, se Zykmund r\u00e1d vracel. Za hlavn\u00ed pova\u017eoval \u201eot\u00e1zku, kdy fotografie se um\u011bn\u00edm st\u00e1v\u00e1 a kdy jim p\u0159est\u00e1v\u00e1 b\u00fdt\u201c <\/em>[Zykmund 1970, s. 16].<\/em> Pokus o \u0159e\u0161en\u00ed probl\u00e9mu op\u0159el o s\u00e9miotiku Ferdinanda de Saussurea a dal\u0161\u00edch autorit soudob\u00e9ho humanitn\u00edho my\u0161len\u00ed. Je mu ke cti, \u017ee nepostupoval dogmaticky a nep\u0159isp\u00edval ke kontraproduktivn\u00ed textualizaci vizu\u00e1ln\u00ed kultury. V souhlasu s Pierrem Francastelem v\u011bd\u011bl, \u017ee bez ochuzen\u00ed nelze \u201eredukovat v\u00fdznam sn\u00edmku na jeho signifikaci, tedy na jist\u00fd druh racion\u00e1ln\u00edho, promluvov\u00e9ho, pojmov\u011b logick\u00e9ho interpretov\u00e1n\u00ed\u201c <\/em>[Zykmund 1970, s. 208]. Zde nav\u00e1\u017ee fotograf a pedagog Bo\u0159ek Soused\u00edk, v\u010detn\u011b p\u0159evzet\u00ed Zykmundem citovan\u00e9 kleeovsk\u00e9 maximy zviditeln\u011bn\u00ed neviditeln\u00e9ho.<\/em> Zykmund odtud sp\u011bje ke krajnostem. Div\u00e1ctv\u00ed \u0159ad\u00ed \u201ek tv\u016fr\u010d\u00edmu procesu, proto\u017ee vn\u00edmatel, kter\u00fd se realizuje ve vn\u00edman\u00e9m d\u00edle, zp\u011btn\u011b p\u016fsob\u00ed na tv\u016frce, jako tv\u016frce p\u016fsobil na vn\u00edmatele\u201c <\/em>[Zykmund 1970, s. 544]; \u201ed\u00edlo m\u016f\u017ee sd\u011blovat vn\u00edmateli bu\u010f v\u00edc, ne\u017e fotograf zam\u00fd\u0161lel, nebo dokonce n\u011bco zcela jin\u00e9ho\u201c <\/em>[Zykmund 1970, s. 545].<\/em> A teoretik to bezd\u011b\u010dn\u011b ilustruje, kdykoli ve sv\u00fdch \u00favah\u00e1ch o um\u011bn\u00ed reprodukuje a komentuje druho\u0159ad\u00e9 sn\u00edmky. Paradoxn\u00ed je v tomto kontextu n\u00e1sleduj\u00edc\u00ed Zykmundova sentence: \u201eK tomu, aby byl k\u00fd\u010d skute\u010dn\u00fdm k\u00fd\u010dem, je t\u0159eba p\u0159inejmen\u0161\u00edm dvou lid\u00ed: toho, kdo k\u00fd\u010d vyr\u00e1b\u00ed (vznik k\u00fd\u010de nevy\u017eaduje tvorbu v prav\u00e9m v\u00fdznamu toho slova), a toho, kdo je ochoten k\u00fd\u010d p\u0159ijmout jako skute\u010dn\u00e9 um\u011bleck\u00e9 d\u00edlo\u201c<\/em> [Kov\u00e1\u0159ov\u00e1 1977].<\/p>\n

Jak dopad\u00e1 Zykmundova fotografick\u00e1 poz\u016fstalost ve sv\u011btle jeho vlastn\u00edch postul\u00e1t\u016f? Dle nich n\u00e1le\u017eej\u00ed k um\u011bn\u00ed v\u00fdhradn\u011b takov\u00e9 fotografie, jejich\u017e v\u00fdznam se nevy\u010derp\u00e1v\u00e1 zobrazen\u00edm n\u00e1m\u011btu, co\u017e je \u201eryz\u00ed dokument o skute\u010dnosti. Fotografie samoz\u0159ejm\u011b m\u016f\u017ee m\u00edt i takov\u00e9 posl\u00e1n\u00ed, ale pak nen\u00ed fotografi\u00ed um\u011bleckou\u201c <\/em>[Zykmund 1970, s. 160].<\/em> Nu\u017ee, jak by nejsp\u00ed\u0161e mohl V\u00e1clav Zykmund interpretovat fotografick\u00e9 z\u00e1znamy vlastn\u00edch akc\u00ed? Snad coby z\u00e1pisky veden\u00e9 \u201esnahou racion\u00e1ln\u011b postihnout konkr\u00e9tn\u00ed ud\u00e1lost, a to tak, aby z \u010dasov\u00e9 rozvrstvenosti d\u011bj\u016f byl \u201avy\u0148at\u2018 takov\u00fd okam\u017eik, kter\u00fd by nahradil ztr\u00e1tu rozv\u00edjen\u00e9 \u010dasovosti a byl vyj\u00e1d\u0159en\u00edm jednoty p\u0159etr\u017eitosti a nep\u0159etr\u017eitosti \u010dasu\u201c <\/em>[Zykmund 1970, s. 352].<\/em><\/p>\n

Literatura<\/strong>:<\/p>\n

Birgus, Vladim\u00edr (ed.): \u010cesk\u00e1 fotografick\u00e1 avantgarda 1918\u20131948<\/em>. Praha, Kant 1999.<\/p>\n

Dufek, Anton\u00edn (ed.): \u010cesk\u00e1 fotografie 1918\u20131938 ze sb\u00edrek Moravsk\u00e9 galerie v Brn\u011b.<\/em> Brno, Moravsk\u00e1 galerie v Brn\u011b 1981.<\/p>\n

Eskildsen, Ute (ed.): Tschechische Fotografie 1918\u20131938.<\/em> Essen, Kulturministerium der \u010cSSR, Museum Folkwang, M\u00e4hrische Galerie 1984.<\/p>\n

Klimpl, Petr: Nezn\u00e1m\u00fd Milo\u0161 Kore\u010dek<\/em>. Revue Fotografie XXIX, 1985, \u010d. 3, s. 36\u201339.<\/p>\n

Kov\u00e1\u0159ov\u00e1, Libu\u0161e: Fotografie a k\u00fd\u010d. <\/em>\u010ceskoslovensk\u00e1 fotografie XXVIII, 1977, \u010d. 10, s. 438.<\/p>\n

M\u017eykov\u00e1, Marie: V\u00e1clav Zykmund.<\/em> Olomouc, Galerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed 1992, s. 6.<\/p>\n

P\u00e1tek, Ji\u0159\u00ed: Milo\u0161 Kore\u010dek, zpr\u00e1va o dvoj\u00edm vstupu do stejn\u00e9 \u0159eky?<\/em> Bulletin Moravsk\u00e9 galerie v Brn\u011b 2003, \u010d. 58\/59, s. 196\u2013203.<\/p>\n

Teige, Karel: Osvobozov\u00e1n\u00ed \u017eivota a poezie. Studie ze 40. let.<\/em> Praha, Aurora 1994.<\/p>\n

Zykmund, V\u00e1clav: Surrealismus a fotografie.<\/em> Brno, D\u016fm um\u011bn\u00ed m\u011bsta Brna 1966.<\/p>\n

Zykmund, V\u00e1clav: Um\u011bn\u00ed, kter\u00e9 mohou d\u011blat v\u0161ichni? <\/em>Praha, Orbis 1968.<\/p>\n

Zykmund, V\u00e1clav: \u00davahy o symbolu a znaku ve fotografii.<\/em> \u010ceskoslovensk\u00e1 fotografie XXI, 1970, \u010d. 1\u201312.<\/p>\n

Zykmund, V\u00e1clav: Fotografie a spole\u010dnost.<\/em> \u010ceskoslovensk\u00e1 fotografie XXII, 1971, \u010d. 12, s. 541.<\/p>\n

Zykmund, V\u00e1clav: Akce.<\/em> In: Pastor, Suzanne E. (ed.): V\u00e1clav Zykmund. Fotografie 1933\u20131945.<\/em> Praha, Pra\u017esk\u00fd d\u016fm fotografie 1993.<\/p>\n","protected":false},"excerpt":{"rendered":"

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