![\"\"](\"http:\/\/www.artinbox.cz\/wp-content\/uploads\/2019\/06\/double-600x343.jpg\" "\\"double\\"")
<\/a><\/p>\n<\/a>Fotogalerie z v\u00fdstavy na FB: https:\/\/www.facebook.com\/pg\/ArtinboxGallery\/photos\/?tab=album&album_id=2712094075529930<\/a><\/p>\n V\u00fdstava konfrontuje tvorbu dvou v\u00fdjime\u010dn\u00fdch, origin\u00e1ln\u00edch a p\u0159esto (t\u00e9m\u011b\u0159) nezn\u00e1m\u00fdch um\u011blc\u016f. P\u0159esto\u017ee je formovala jin\u00e1 historick\u00e1 zku\u0161enost a jin\u00e9 z\u00e1jmy, postoje a n\u00e1zory, oba dosp\u011bli k pozoruhodn\u011b podobn\u00e9mu v\u00fdtvarn\u00e9mu v\u00fdrazu, kter\u00fd lze form\u00e1ln\u011b definovat N\u00e1pravn\u00edkov\u00fdm pojmem Inverz\u00e1\u017e \u2013 zrcadlov\u00e9 zdvojen\u00ed reality a jej\u00edch fragment\u016f vyvol\u00e1vaj\u00edc\u00ed kaleidoskopick\u00fd vizu\u00e1ln\u00ed vjem.<\/p>\n The exhibition will present the confrontation of the work of two exceptional, original and yet (almost) unknown artists. Although they have never met, had lived in different environments and were shaped by differing personal and historical experiences and individual interests, attitudes and opinions, both artists have come to a remarkably similar artistic expression that can be formally defined by the N\u00e1pravn\u00edk\u00b4s notion of Inversion – the mirroring of reality and its fragments evoking kaleidoscopic visual perception.<\/p>\n V\u00fdstava vznikla ve spolupr\u00e1ci s galeri\u00ed P\u0161trosova 23 \/ Exhibition was prepared in cooperation with P\u0161trosova 23 Gallery.<\/p>\n Projekt podpo\u0159ili \/ project was supported by: Hlavn\u00ed m\u011bsto Praha a St\u00e1tn\u00ed fond kultury MK \u010cR.<\/p>\n V \u010dervnu je v\u00fdstava otev\u0159ena: \u00fat. – \u010dt.: 15 – 18 h. nebo po domluv\u011b. Od 1.7. po dobu letn\u00edch pr\u00e1zdnin bude v\u00fdstava p\u0159\u00edstupn\u00e1 jen po domluv\u011b. \/ Opening hours in June: tue – thu: 3 – 6 p. m. or by request. From the 1st ofJuly, during the summer holidays, the exhibition will be open only by appointment.<\/p>\n V\u00fdstava konfrontuje tvorbu dvou v\u00fdjime\u010dn\u00fdch, origin\u00e1ln\u00edch a p\u0159esto (t\u00e9m\u011b\u0159) nezn\u00e1m\u00fdch um\u011blc\u016f. P\u0159esto\u017ee je formovala jin\u00e1 historick\u00e1 zku\u0161enost a jin\u00e9 z\u00e1jmy, postoje a n\u00e1zory, oba dosp\u011bli k pozoruhodn\u011b podobn\u00e9mu v\u00fdtvarn\u00e9mu v\u00fdrazu, kter\u00fd lze form\u00e1ln\u011b definovat N\u00e1pravn\u00edkov\u00fdm pojmem Inverz\u00e1\u017e \u2013 zrcadlov\u00e9 zdvojen\u00ed reality a jej\u00edch fragment\u016f vyvol\u00e1vaj\u00edc\u00ed kaleidoskopick\u00fd vizu\u00e1ln\u00ed vjem. <\/strong><\/p>\n The exhibition will present the confrontation of the work of two exceptional, original and yet (almost) unknown artists. Although they have never met, had lived in different environments and were shaped by differing personal and historical experiences and individual interests, attitudes and opinions, both artists have come to a remarkably similar artistic expression that can be formally defined by the N\u00e1pravn\u00edk\u00b4s notion of Inversion – the mirroring of reality and its fragments evoking kaleidoscopic visual perception.<\/em><\/strong><\/p>\n <\/em><\/p>\n Tv\u00e1\u0159 skute\u010dn\u00e9ho Lucifera je slo\u017eit\u00e1 a temn\u00e1<\/em><\/p>\n jeho kr\u00e1sa se podob\u00e1 kr\u00e1se postn\u00ed \u0159\u00edmsy<\/em><\/p>\n Used\u00e1 ruce na kolenou kolena mezi trhlinami<\/em><\/p>\n \u0161t\u011bp\u00ed vlasy svitu<\/em><\/p>\n m\u011bn\u00ed postavy kolemjdouc\u00edch<\/em><\/p>\n a nastavuje zrcadla bo\u017esk\u00fdm p\u0159\u00edzrak\u016fm moci<\/em><\/p>\n otvor\u016fm s\u00a0obrovsk\u00fdmi hlavami<\/em><\/p>\n a zarostl\u00fdmi zuby<\/em><\/p>\n s o\u010dima skosen\u00fdma svinstvy<\/em><\/p>\n nic ne\u017e stra\u0161n\u00e9 hlavy<\/em><\/p>\n na kr\u00e1tk\u00fdch k\u0159iv\u00fdch noh\u00e1ch b\u00e1zn\u011b<\/em><\/p>\n a s\u00a0dob\u0159e nakade\u0159en\u00fdm stoj\u00edc\u00edm<\/em><\/p>\n jen\u017e \u017eebr\u00e1 o h\u0159\u00edch<\/em><\/p>\n <\/em><\/p>\n Ver\u0161e surrealistick\u00e9ho b\u00e1sn\u00edka, socha\u0159e a fotografa Milana N\u00e1pravn\u00edka (1931\u2013 <\/em>2017), publikovan\u00e9 v\u00a0knize Dech noci \/ Noc duch\u016f \/ Duch noci \/ Noc dech\u016f<\/em> (Artfoto, Praha, 1995), uvozuj\u00ed soubor jeho fotografi\u00ed vytvo\u0159en\u00fdch unik\u00e1tn\u00ed technikou, kterou s\u00e1m ozna\u010dil jako invers\u00e1\u017e <\/em>a definoval ji jako \u201esurrealistickou metodu vytv\u00e1\u0159en\u00ed magick\u00e9 reality spojen\u00edm dvou a nebo n\u011bkolika inverzn\u00edch obraz\u016f re\u00e1ln\u00fdch p\u0159edm\u011bt\u016f, jejich \u010d\u00e1st\u00ed, anebo nep\u0159edm\u011btn\u00fdch povrchov\u00fdch struktur.\u201c <\/em>Toto zrcadlov\u00e9 spojen\u00ed obrazu vn\u00edmal jako jeden ze z\u00e1kladn\u00edch<\/p>\n \u201emorfologick\u00fdch princip\u016f p\u0159\u00edrody, organiza\u010dn\u00ed archetyp makro \u2013 i mikrokosmu.\u201c To se, zpo\u010d\u00e1tku nahodile a n\u00e1sledn\u011b ji\u017e zcela z\u00e1m\u011brn\u011b, p\u0159ihodilo Milanu N\u00e1pravn\u00edkovi v\u00a0jeho analogov\u00fdch, \u010dernob\u00edl\u00fdch, ru\u010dn\u011b komponovan\u00fdch inverz\u00e1\u017e\u00edch<\/em>, kter\u00e9 za\u010dal vytv\u00e1\u0159et ve druh\u00e9 polovin\u011b 70. let, a bez jak\u00fdchkoliv vn\u011bj\u0161\u00edch souvislost\u00ed se to d\u011bje tak\u00e9 Jozefu Vojt\u00e1nkovi (1979), vyu\u010den\u00e9mu automechanikovi, v\u00fdtvarn\u00e9mu a po\u010d\u00edta\u010dov\u00e9mu autodidaktovi a p\u0159esto origin\u00e1ln\u00edmu slovensk\u00e9mu um\u011blci, pro n\u011bj\u017e je v\u00fdstava Kaleidoskop<\/em> v\u016fbec prvn\u00ed ve\u0159ejnou prezentac\u00ed jeho kreseb a manipulovan\u00fdch po\u010d\u00edta\u010dov\u00fdch fotomont\u00e1\u017e\u00ed. <\/em><\/p>\n Zd\u00e1nliv\u011b abstraktn\u00edm Vojt\u00e1nkov\u00fdm kresb\u00e1m, kter\u00e9 za\u010daly vznikat na po\u010d\u00e1tku mil\u00e9nia, p\u0159edch\u00e1zely psychedelick\u00e9 vize, kter\u00e9 si pe\u010dliv\u011b zapisoval. Str\u00e1nky \u010dtvere\u010dkovan\u00e9ho pap\u00edru zaplnil zleva doprava, seshora dol\u016f, bez odstavc\u016f a pomlk nep\u0159etr\u017eit\u00fdm proudem slov, kter\u00e1 k\u00a0n\u011bmu p\u0159ich\u00e1zela stejn\u011b nal\u00e9hav\u011b, jako vizu\u00e1ln\u00ed p\u0159edstavy. \u201eHlava sochy se pohybovala dole. V\u00a0tom moment\u011b se n\u00e1lepka n\u011bkolikr\u00e1t zv\u011bt\u0161ila, p\u0159el\u00e9tla p\u0159es hlavu a padala do \u010dern\u00e9ho prostoru. Kdy\u017e se zastavila, vznikla obrovsk\u00e1 z\u00e1\u0159\u00edc\u00ed plocha, na kter\u00e9 byly \u010dtvere\u010dky. Plocha se st\u00e1le zv\u011bt\u0161ovala, a\u017e pukla, a v\u00a0jej\u00edm st\u0159edu se vytvo\u0159il zvl\u00e1\u0161tn\u00ed spir\u00e1lovit\u00fd otvor. Hlava sochy \u2026 let\u011bla dol\u016f, a\u017e se p\u0159ed n\u00ed objevil \u010dtvercov\u00fd otvor a napravo dal\u0161\u00ed a dal\u0161\u00ed. N\u00e1hle p\u0159ed n\u00ed st\u00e1la st\u011bna se \u010dty\u0159mi otvory \u2013 kdy\u017e ve\u0161la do prvn\u00edho, vy\u0161la ze druh\u00e9ho, kdy\u017e byla v\u00a0posledn\u00edm, vy\u0161la z\u00a0prost\u0159edka vrchn\u00ed \u010d\u00e1sti klece\u2026. Pot\u00e9 j\u00ed z\u00a0u\u0161\u00ed vyrostla zvl\u00e1\u0161tn\u00ed k\u0159\u00eddla a hlava vzl\u00e9tla vzh\u016fru. K\u0159\u00eddla pak zase zmizela a hlava se prom\u011bnila v\u00a0golfovou lopati\u010dku a v\u00a0otvoru pod n\u00ed se objevila hl\u00edna. Byla v\u00a0jamce na golfov\u00e9m h\u0159i\u0161ti\u2026\u201c<\/em><\/p>\n Vidiny byly natolik hmatateln\u00e9, \u017ee je Jozef Vojt\u00e1nek tou\u017eil rozpohybovat, ozvu\u010dit, p\u0159en\u00e9st je do podoby filmov\u00e9ho klipu. Vzhledem k\u00a0nedostatku prost\u0159edk\u016f se zpo\u010d\u00e1tku musel spokojit s\u00a0kresbou tu\u0161\u00ed a pastelkami, jedn\u00e9 \u00fanorov\u00e9 noci lo\u0148sk\u00e9ho roku ale dostal vnuknut\u00ed a vybaven fotoapar\u00e1tem a baterkou se vydal na sv\u016fj prvn\u00ed \u201elov\u201c. Nejprve \u2013 podobn\u011b jako N\u00e1pravn\u00edk \u2013 fotografoval re\u00e1ln\u00e9 p\u0159edm\u011bty, struktury a scen\u00e9rie \u2013 opr\u00fdskan\u00e9, posprejovan\u00e9 zdi, industri\u00e1ln\u00ed fragmenty, dopravn\u00ed zna\u010dky, kter\u00e9 pak v\u00a0mobiln\u00edm telefonu upravoval pomoc\u00ed b\u011b\u017en\u011b dostupn\u00fdch grafick\u00fdch aplikac\u00ed. Postupem \u010dasu za\u010dal coby v\u00fdchoz\u00ed elementy pou\u017e\u00edvat jednoduch\u00e1 loga a znaky dostupn\u00e9 v\u00a0po\u010d\u00edta\u010di, kter\u00e9 manipuloval n\u011bkdy a\u017e sedmi r\u016fzn\u00fdmi aplikacemi a v\u00a0posledn\u00ed dob\u011b je na tabletu tak\u00e9 dokresloval. Sou\u010dasn\u00e9 technologie mu umo\u017e\u0148uj\u00ed nekone\u010dn\u00e9 mno\u017estv\u00ed kombinac\u00ed, deformac\u00ed a variac\u00ed, kter\u00e9 si v\u0161ak st\u00e1le uchov\u00e1vaj\u00ed morfologii frakt\u00e1l\u016f – \u00a0sob\u011b podobn\u00fd<\/a>ch, donekone\u010dna se rozv\u00edjej\u00edc\u00edch \u00fatvar\u016f, je\u017e jsou z\u00e1kladem p\u0159\u00edrodn\u00edho tvaroslov\u00ed. Vznikl tak eklektick\u00fd postmodern\u00ed pasti\u0161, z\u00e1vratn\u00fd labyrint vizu\u00e1ln\u00edch styl\u016f, kter\u00fd navzdory sv\u00e9 rozmanitosti st\u00e1le odpov\u00edd\u00e1 p\u016fvodn\u00edm halucinatorn\u00edm p\u0159edstav\u00e1m sv\u00e9ho autora. S\u00a0invez\u00e1\u017eemi Milana N\u00e1pravn\u00edka jej pak vedle zar\u00e1\u017eej\u00edc\u00ed podobnosti zd\u00e1nliv\u011b nesmi\u0159iteln\u00fdch prvk\u016f spojuje nejen dominantn\u00ed princip zrcadlen\u00ed a vyv\u00e1\u0159en\u00ed kaleidoskopick\u00e9ho obrazu sv\u011bta, jak ho nezn\u00e1me, ale p\u0159edev\u0161\u00edm pak ona d\u00e9monick\u00e1 podoba magick\u00e9 skute\u010dnosti, kter\u00e1 se vyjevuje jen vyvolen\u00fdm.<\/p>\n Terezie Zem\u00e1nkov\u00e1, Praha, \u010derven 2019<\/p>\n ……………………………………………………………………………………………………………………………………….<\/p>\n Milan N\u00e1pravn\u00edk \/ Jozef Vojt\u00e1nek KALEIDOSKOP (12. 6. – 12. 9. 2019)<\/span><\/strong><\/p>\n The exhibition confronts the work of two exceptional, original and yet (almost) unknown artists. Although they have been shaped by different historical experience and different interests, views and opinions, both have come to a remarkably similar artistic expression that can be formally defined by N\u00e1pravn\u00edk\u2019s term \u201cinversage\u201d \u2013 a mirror duplication of reality and its fragments inducing a kaleidoscopic visual perception.<\/strong><\/p>\n The verses of the surrealist poet, sculptor and photographer Milan N\u00e1pravn\u00edk (1931\u2013 2017), published in the book Dech noci \/ Noc duch\u016f \/ Duch noci \/ Noc dech\u016f<\/em> (Artfoto, Prague, 1995), introduce a series of his photographs created by a unique technique, which he described as inversage<\/em> and defined it as a \u201csurrealistic method of creating magical reality by combining two or more inverse images of real objects, their parts, or non-objective surface structures.\u201d<\/em> He perceived this mirror image as one of the fundamental \u201cMorphological principles of nature, the organizational archetype of macro- and microcosm.\u201d<\/em><\/p>\n It is no wonder that his discovery had the nature of initiation. \u201cA piece of decayed wood lay in front of me in flattened, half-dried grass [\u2026] on the brink of a small, dark pool. This strange and as if deliberately made object [\u2026] seemed to be one of the unexpected and symbolic objects that we usually encounter only in a dream. [\u2026] The tangle of dirt, grass and roots, and their inverse reflection in the dark, still water of the pool, assembled into a symmetrical whole, into the face of a demon observing me with a piercing and scornful look. [\u2026] I suddenly had an intense feeling of being spoken to [\u2026], of a kind of alien intervention, a psychotic phenomenon whose erratic cause is beyond my comprehension.\u201d<\/em><\/p>\n Milan N\u00e1pravn\u00edk thus described the fine line between a real-life situation, sensory perception and magical recognition, the transition between reality and the \u201crealm behind the mirror\u201d, which is only accessible to shamans \u2013 or madmen \u2013 simply to those whose perception is for some reason wider than normal. However, the more this sensitive perception expands, the more the usual relationships between the individual phenomena diverge and the whole system threatens to collapse. At that moment takes over the self-preserving need to put order into chaos, to conquer the incomprehensible irregularity of shapes and to direct them \u2013 and to tame the chaos of one\u2019s mind as well. However, if we try to violently put the plethora of nature morphology and the phenomenal world into a fabricated system, we will see its dark, evil face.<\/p>\n This, initially randomly and subsequently deliberately, happened to Milan N\u00e1pravn\u00edk in his analogue, black-and-white, hand-composed inversages<\/em>, which he began to create in the late 1970s. Without any external connections, this also happens to Jozef Vojt\u00e1nek (1979), a trained car mechanic, an art and computer autodidact, and yet an original Slovak artist for whom the Kaleidoscope<\/em> exhibition is the first public presentation of his drawings and manipulated computer photomontages.<\/p>\n Vojt\u00e1nek\u2019s seemingly abstract drawings that originated at the beginning of the millennium were preceded by psychedelic visions that he carefully wrote down. He filled pages of squared paper from left to right, from top to bottom, without paragraphs or pauses by a continuous stream of words that would come to him just as urgently as the visual images. \u201cThe head of the statue was moving below. At that moment, the sticker increased in size several times, flew over the head, and fell into the black space. When it stopped, a huge glowing surface was created, with little squares on it. The area grew bigger and bigger until it burst, and a strange spiral hole formed in its centre. The head of the statue … flew down until a square hole appeared in front of it and more of them on the right. Suddenly, there was a wall with four holes in front of it \u2013 when it entered the first one, it came out of the second, when it was in the last, it came out in the middle of the upper part of the cage…. Then strange wings grew out of its ears, and the head flew upward. Then the wings disappeared again, and the head turned into a golf shovel, and dirt appeared in the hole beneath it. It was in a hole on a golf course\u2026\u201d<\/em><\/p>\n The visions were so tangible that Jozef Vojt\u00e1nek dreamed of making them move and sound, of transferring them into a movie clip. Due to the lack of resources he initially had to settle for ink and crayon drawings. But on one February night last year he got inspired and equipped with a camera and a flashlight he went on his first \u201chunt\u201d. Like N\u00e1pravn\u00edk, he first photographed real objects, structures, and scenery \u2013 flaking, sprayed walls, industrial fragments, traffic signs, which he then edited on his mobile phone with commonly available graphic applications. Over time, he started to use simple logos and characters available on the computer, which he sometimes manipulated in even seven different applications, and recently he has made additional drawings around them on the tablet. The contemporary technologies allow him an infinite number of combinations, distortions and variations that still retain the morphology of fractals \u2013 self-similar, endlessly evolving objects that are the basis of natural morphology. Thus was created an eclectic postmodern pastiche, a dizzying labyrinth of visual styles that, despite its diversity, still corresponds to the original hallucinatory ideas of its author. It is connected with Milan N\u00e1pravn\u00edk\u2019s inversages not only by the striking similarity of the seemingly irreconcilable elements but also by the dominant principle of mirroring and creating a kaleidoscopic image of the world as we do not know it. And above all by the demonic form of magical reality that is only revealed to the chosen ones.<\/p>\n Terezie Zem\u00e1nkov\u00e1, Prague, June 2019<\/p>\n ……………………………………………………………………………………………………………………………………….<\/p>\n CEN\u00cdK \/ PRICE LIST:<\/span><\/strong><\/p>\n <\/strong><\/p>\n JOZEF VOJT\u00c1NEK:<\/strong><\/p>\n Jozef Vojt\u00e1nek, digit\u00e1ln\u00ed fotografika, 2017-2019 \/ Jozef Vojt\u00e1nek, from the series Masks, digital photographics, 2017 \u2013 2019, 20 x 20 cm, diasec, edice 1\/50, cena: 3.500,- K\u010d \/ 140 eur<\/p>\n (mno\u017estevn\u00ed slevy: 2 ks: 3400,-, 3 ks 3300,-, 4ks 3200,- K\u010d, 5 ks 3100,-, 6 v\u00edc ks: 3000 K\u010d)<\/p>\n Jozef Vojt\u00e1nek, digit\u00e1ln\u00ed fotografika, 2017-2019 \/ Jozef Vojt\u00e1nek, from the series Masks, digital photographics, 2017 \u2013 2019, 30 x 40 cm, vysokost\u00e1l\u00fd pigmentov\u00fd tisk \/ Hanemuhle pap\u00edr, edice 1\/50, cena: 3.500,- K\u010d \/ 140 eur<\/p>\n (mno\u017estevn\u00ed slevy: 2 ks: 3400,-, 3 ks 3300,-, 4ks 3200,- K\u010d, 5 ks 3100,-, 6 v\u00edc ks: 3000 K\u010d)<\/p>\n Josef Vojt\u00e1nek: Kresby, tu\u0161 \/ pastel \/ pap\u00edr \/ \u00e1 7000,- K\u010d<\/p>\n <\/strong><\/p>\n MILAN N\u00c1PRAVN\u00cdK:<\/strong><\/p>\n Milan N\u00e1pravn\u00edk: Inverz\u00e1\u017e, bromost\u0159\u00edbrn\u00e1 vintage fotografie, 80. l\u00e9ta 20. stolet\u00ed \/ Milan N\u00e1pravn\u00edk: Inversion, gelatin silver vintage photography, 1980s<\/p>\n Inverz\u00e1\u017ee velk\u00e9 50 x 70 cm signovan\u00e9: 40\u00a0000 K\u010d<\/p>\n Inverz\u00e1\u017ee velk\u00e9 50 x 70 cm nesignovan\u00e9: 34\u00a0000 K\u010d<\/p>\n Inverz\u00e1\u017ee st\u0159edn\u00ed A3 nesignovan\u00e9: 20\u00a0000 K\u010d<\/p>\n Inverz\u00e1\u017ee mal\u00e9 A4 nesignovan\u00e9: 12\u00a0000 K\u010d<\/p>\n \u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026<\/p>\n Artinbox Gallery Nadia Rovderov\u00e1: tel.: +420 777 748 433<\/p>\n nadia@artinbox.cz<\/a> <\/em><\/p>\n <\/em><\/p>\n <\/em><\/p>\n","protected":false},"excerpt":{"rendered":" […]<\/p>\n","protected":false},"author":3,"featured_media":4231,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/www.artinbox.cz\/index.php?rest_route=\/wp\/v2\/posts\/4229"}],"collection":[{"href":"https:\/\/www.artinbox.cz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artinbox.cz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artinbox.cz\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artinbox.cz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4229"}],"version-history":[{"count":13,"href":"https:\/\/www.artinbox.cz\/index.php?rest_route=\/wp\/v2\/posts\/4229\/revisions"}],"predecessor-version":[{"id":4252,"href":"https:\/\/www.artinbox.cz\/index.php?rest_route=\/wp\/v2\/posts\/4229\/revisions\/4252"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artinbox.cz\/index.php?rest_route=\/wp\/v2\/media\/4231"}],"wp:attachment":[{"href":"https:\/\/www.artinbox.cz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4229"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artinbox.cz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4229"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artinbox.cz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4229"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n<\/em>Jeho objeven\u00ed m\u011blo \u2013 jak jinak \u2013 charakter iniciace. \u201eKus zetlel\u00e9ho d\u0159eva<\/em> le\u017eel p\u0159ede mnou v\u00a0polehl\u00e9, nap\u016fl uschl\u00e9 tr\u00e1v\u011b <\/em>[\u2026] na pokraji mal\u00e9, temn\u00e9 t\u016fn\u011b. Tento podivn\u00fd a jakoby z\u00e1m\u011brn\u011b zhotoven\u00fd p\u0159edm\u011bt <\/em>[\u2026] se zd\u00e1l cel\u00fdm sv\u00fdm vzez\u0159en\u00edm n\u00e1le\u017eet k\u00a0on\u011bm ne\u010dekan\u00fdm a symbolick\u00fdm objekt\u016fm, s\u00a0nimi\u017e se setk\u00e1v\u00e1me v\u011bt\u0161inou jenom ve snu. <\/em>[\u2026] Zm\u011b\u0165 hl\u00edny, tr\u00e1vy a ko\u0159en\u016f a jejich inverzn\u00ed odraz v\u00a0temn\u00e9, nehnut\u00e9 vod\u011b t\u016fn\u011b, se spojily v\u00a0symetrick\u00fd celek, v\u00a0tv\u00e1\u0159 pronikav\u011b a nepokryt\u011b v\u00fdsm\u011b\u0161n\u011b m\u011b pozoruj\u00edc\u00edho d\u00e9mona. <\/em>[\u2026] M\u011bl jsem n\u00e1hle intenzivn\u00ed pocit osloven\u00ed <\/em>[\u2026], jak\u00e9hosi ciz\u00edho z\u00e1sahu, psychotick\u00e9ho jevu, jeho\u017e nevyzpytateln\u00e1 p\u0159\u00ed\u010dina se nach\u00e1z\u00ed mimo dosah m\u00e9ho ch\u00e1p\u00e1n\u00ed.\u201c <\/em>
\nMilan N\u00e1pravn\u00edk tak popsal k\u0159ehkou hranici mezi re\u00e1lnou, smyslov\u00fdm vn\u00edm\u00e1n\u00edm a magick\u00fdm pozn\u00e1v\u00e1n\u00edm, p\u0159echod mezi skute\u010dnost\u00ed a \u201e\u0159\u00ed\u0161\u00ed za zrcadlem\u201c, kter\u00e9 se zp\u0159\u00edstup\u0148uje jen \u0161aman\u016fm \u2013 anebo \u0161\u00edlenc\u016fm \u2013 zkr\u00e1tka t\u011bm, jejich\u017e vn\u00edm\u00e1n\u00ed je z\u00a0n\u011bjak\u00e9ho d\u016fvodu \u0161ir\u0161\u00ed, ne\u017e je b\u011b\u017en\u00e9. \u010c\u00edm v\u00edce se v\u0161ak tato zjit\u0159en\u00e1 percepce rozp\u00edn\u00e1 t\u00edm v\u00edce se tak\u00e9 rozestupuj\u00ed obvykl\u00e9 vztahy mezi jednotliv\u00fdmi jevy a cel\u00fd syst\u00e9m hroz\u00ed zhroucen\u00edm. V\u00a0ten moment se za\u010d\u00edn\u00e1 prosazovat sebesp\u00e1sn\u00e1 pot\u0159eba vlo\u017eit do chaosu \u0159\u00e1d, poko\u0159it nesrozumitelnou nepravidelnost tvar\u016f a usm\u011brnit je \u2013 a zkrotit tak i chaos ve vlastn\u00ed mysli. Pokus\u00edme-li se ale nep\u0159ebern\u00e9 tvaroslov\u00ed p\u0159\u00edrody a jevov\u00fd sv\u011bt v\u016fbec zn\u00e1silnit do vykonstruovan\u00e9ho syst\u00e9mu, vyjev\u00ed se n\u00e1m jeho odvr\u00e1cen\u00e1, \u010f\u00e1belsk\u00e1 tv\u00e1\u0159.<\/p>\n
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