{"id":5412,"date":"2018-04-16T10:18:00","date_gmt":"2018-04-16T08:18:00","guid":{"rendered":"http:\/\/www.miaumagazin.sk\/home\/?p=5412"},"modified":"2018-04-16T10:18:00","modified_gmt":"2018-04-16T08:18:00","slug":"umenie-april-2018","status":"publish","type":"post","link":"https:\/\/www.miaumagazin.sk\/home\/umenie-april-2018\/","title":{"rendered":"Umenie apr\u00edl 2018"},"content":{"rendered":"

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Po\u00e9zia grafiky<\/strong><\/p>\n

Bratislavsk\u00e1 Gal\u00e9ria SPP na Mlynsk\u00fdch Niv\u00e1ch systematicky pon\u00faka prehliadky na\u0161ich \u0161pi\u010dkov\u00fdch grafikov a\u00a0patr\u00ed k\u00a0nim aj Karol Ondrei\u010dka (1944 – 2003) a\u00a0jeho grafick\u00e1 tvorba. Kur\u00e1torka v\u00fdstavy Melita Fodor Gwerkov\u00e1 ju nazvala Po\u00e9zia grafiky a\u00a0prin\u00e1\u0161a prierez grafickou tvorbou tohto niekdaj\u0161ieho absolventa \u0161koly prof. A. Brunovsk\u00e9ho na Vysokej \u0161kole v\u00fdtvarn\u00fdch umen\u00ed v\u00a0Bratislave. Talent, d\u00f4kladn\u00e1 graficko-remeseln\u00e1 pr\u00edprava, intelektu\u00e1lne a osobnostn\u00e9 predpoklady ho predur\u010dili na to, aby sa stal jedn\u00fdm z jeho najpozoruhodnej\u0161\u00edch nasledovn\u00edkov. Vo svojej tvorbe, rozv\u00edjal princ\u00edpy fantazijn\u00e9ho realizmu, sk\u00famal najm\u00e4 vz\u0165ahy \u010dloveka a pr\u00edrody, mu\u017ea a \u017eeny a vkladal do nej svoje t\u00fa\u017eby, predstavy, humanistick\u00e9 a filozofick\u00e9 odkazy. Prec\u00edzne grafick\u00e9 spracovanie, vrstvenie symbolov a v\u00fdznamov\u00fdch rov\u00edn robia Ondrei\u010dkovo dielo pr\u00ed\u0165a\u017eliv\u00fdm pre \u0161irok\u00e9 publikum. Ilustroval takmer 200 kni\u017en\u00fdch publik\u00e1ci\u00ed pre deti i dospel\u00fdch, za ktor\u00e9 z\u00edskal mnoho ocenen\u00ed doma aj vo svete. D\u00f4le\u017eit\u00e9 miesto v\u00a0jeho tvorbe zauj\u00edmal ex libris, ktor\u00e9mu je venovan\u00e1 aj \u010das\u0165 v\u00fdstavy.\u00a0Vo svojej tvorbe vyu\u017e\u00edval kombin\u00e1cie grafick\u00fdch techn\u00edk, v\u010faka ktor\u00fdm dosiahol zamatov\u00e9 prechody svetla a tie\u0148a. Ako s\u00e1m povedal:\u00a0\u201eDo svojich obrazov sa usilujem transponova\u0165 svoj \u017eivotn\u00fd pocit, h\u013ead\u00e1m priestor na poetick\u00e9 ozvl\u00e1\u0161tnenie sveta. A\u00a0objavujem tam tu\u0161en\u00e9 tajomstv\u00e1.\u201c Publikujeme grafiku od Karola Ondrei\u010dku s\u00a0n\u00e1zvom Pocta Ingresovi.<\/p>\n

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Model\u00e1cia \u010dasu<\/strong><\/p>\n

V\u0161etko sa opakuje a\u00a0pretrv\u00e1va ponad \u010das a\u00a0r\u00f4zne kult\u00fary – my\u0161lienky rovnako ako umeleck\u00e9 obrazy. To je z\u00e1kladn\u00e1 my\u0161lienka pomerne subt\u00edlnej, ale vplyvnej knihy The Shape of Time (Modelovanie \u010dasu) od americk\u00e9ho historika Georga Kublera (1912 – 1996). A\u00a0pr\u00e1ve tento n\u00e1zov si prepo\u017ei\u010dala aj atrakt\u00edvna v\u00fdstava vo viedenskom Kunsthistorisches Museum, ktor\u00e1 do 8. j\u00fala predstavuje majstrovsk\u00e9 obrazy z\u00a0r\u00f4znych obdob\u00ed a\u00a0ukazuje, ako m\u00e1 dan\u00fd \u017e\u00e1ner (akt, krajinoma\u013eba, z\u00e1ti\u0161ie a pod.) svoje n\u00e1padn\u00e9 podobnosti. Model\u00e1cia \u010dasu je niekedy a\u017e neuverite\u013ene zvl\u00e1\u0161tna a\u00a0ob\u010das m\u00e1te pocit, \u017ee maliari naozaj ma\u013euj\u00fa jeden obraz. Nielen cel\u00fd \u017eivot, ale cel\u00fd \u013eudsk\u00fd vek. Trochu sa zmenia kulisy, mo\u017eno v\u00fdraz, ale archetypy zost\u00e1vaj\u00fa. Vedom\u00e9 aj nevedom\u00e9 in\u0161pir\u00e1cie, podvedom\u00e9 intu\u00edcie, plynutie \u010dasu. Je to aj zamyslenie pre div\u00e1kov, ako oni vn\u00edmaj\u00fa tieto obrazy z\u00a0encyklop\u00e9die umenia a\u00a0\u010do pre nich tieto podobnosti znamenaj\u00fa… Ved\u013ea seba sa tak stret\u00e1vaj\u00fa autori ako Tizian a\u00a0Picasso, Vel\u00e1zquez a\u00a0Manet a\u00a0mnoh\u00ed \u010fal\u0161\u00ed, pri\u010dom oproti \u017eensk\u00e9mu aktu od rak\u00faskej autorky Marie Lassnig (1919 – 2014) vis\u00ed aj Rubensov obraz Helena Fourmentov\u00e1 v ko\u017e\u00fa\u0161ku (na fotografii)<\/em>, ktor\u00fdm vzdal hold kr\u00e1se tela svojej druhej man\u017eelky – postojom i\u00a0gestom z\u00e1merne pripodobnen\u00e1 antickej Venu\u0161i.<\/p>\n

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Very British v\u00a0Prahe<\/strong><\/p>\n

Mo\u017eno, \u017ee Damien Hirst je o\u00a0\u010dosi sl\u00e1vnej\u0161\u00ed (\u00e1no, ten \u010do rozrezal na polovicu \u017eraloka \u010di kravu a\u00a0ponoril ich do formaldehydu) a\u00a0za jeho diela sa platia nehor\u00e1zne sumy, ale Matt Collishaw (1966) pr\u00edli\u0161 za n\u00edm nezaost\u00e1va. Patr\u00ed k\u00a0d\u00f4le\u017eit\u00fdm post\u00e1vam britskej umeleckej sc\u00e9ny z\u00a0prelomu 80. a\u00a090. rokov a\u00a0mnoh\u00e9 prest\u00ed\u017ene gal\u00e9rie sveta si pova\u017euj\u00fa za \u010des\u0165 ho vystavova\u0165. Od 11. apr\u00edla do 8. j\u00fala prich\u00e1dza do pra\u017eskej Galerie Rudolfinum, aby tu predstavil svoje Last Meal \u010di\u017ee Posledn\u00e9 jedlo. V\u00a0Prahe vystavuje v\u0161etky svoje z\u00e1sadn\u00e9 diela a\u00a0ch\u00fdba\u0165 nebud\u00fa ani fotografie zo s\u00e9rie Sugar and Spice, All Things Nice (jednu z\u00a0nich publikujeme na fotografii). Tak sa teda ponorte do v\u00fdtvarn\u00e9ho sveta, kde to \u017eiari bl\u00fdskav\u00fdm povrchom, ale pod n\u00edm, ako to ob\u010das b\u00fdva, sa odohr\u00e1vaj\u00fa siln\u00e9 estetick\u00e9 pr\u00edbehy. Aj ikonick\u00e9 diela dej\u00edn umenia s\u00fa posunut\u00e9 do \u00faplne nov\u00e9ho kontextu a\u00a0takisto budete pri nich posunut\u00ed aj vy… Pozit\u00edvne.<\/p>\n

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\u013dudov\u00edt Petr\u00e1nsky<\/p>\n

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  Po\u00e9zia grafiky Bratislavsk\u00e1 Gal\u00e9ria SPP na Mlynsk\u00fdch Niv\u00e1ch systematicky pon\u00faka prehliadky na\u0161ich \u0161pi\u010dkov\u00fdch grafikov a\u00a0patr\u00ed k\u00a0nim aj Karol Ondrei\u010dka (1944 – 2003) a\u00a0jeho grafick\u00e1 tvorba. Kur\u00e1torka v\u00fdstavy Melita Fodor Gwerkov\u00e1 ju nazvala Po\u00e9zia grafiky a\u00a0prin\u00e1\u0161a prierez grafickou tvorbou tohto niekdaj\u0161ieho absolventa \u0161koly prof. A. Brunovsk\u00e9ho na Vysokej \u0161kole v\u00fdtvarn\u00fdch umen\u00ed v\u00a0Bratislave. Talent, d\u00f4kladn\u00e1 graficko-remeseln\u00e1 […]<\/p>\n","protected":false},"author":3,"featured_media":5415,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[63,7],"tags":[],"class_list":["post-5412","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-april-2018","category-hudba-kino-umenie"],"_links":{"self":[{"href":"https:\/\/www.miaumagazin.sk\/home\/wp-json\/wp\/v2\/posts\/5412","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.miaumagazin.sk\/home\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.miaumagazin.sk\/home\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.miaumagazin.sk\/home\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.miaumagazin.sk\/home\/wp-json\/wp\/v2\/comments?post=5412"}],"version-history":[{"count":2,"href":"https:\/\/www.miaumagazin.sk\/home\/wp-json\/wp\/v2\/posts\/5412\/revisions"}],"predecessor-version":[{"id":5418,"href":"https:\/\/www.miaumagazin.sk\/home\/wp-json\/wp\/v2\/posts\/5412\/revisions\/5418"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.miaumagazin.sk\/home\/wp-json\/wp\/v2\/media\/5415"}],"wp:attachment":[{"href":"https:\/\/www.miaumagazin.sk\/home\/wp-json\/wp\/v2\/media?parent=5412"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.miaumagazin.sk\/home\/wp-json\/wp\/v2\/categories?post=5412"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.miaumagazin.sk\/home\/wp-json\/wp\/v2\/tags?post=5412"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}