{"id":9762,"date":"2020-11-22T15:24:59","date_gmt":"2020-11-22T14:24:59","guid":{"rendered":"https:\/\/asocheca.org\/cz\/?p=9762"},"modified":"2020-11-26T21:54:22","modified_gmt":"2020-11-26T20:54:22","slug":"retrospektivni-vystava-dila-beatriz-gonzalez","status":"publish","type":"post","link":"https:\/\/asocheca.org\/cz\/2020\/11\/retrospektivni-vystava-dila-beatriz-gonzalez\/","title":{"rendered":"Retrospektivn\u00ed v\u00fdstava d\u00edla Beatriz Gonz\u00e1lez"},"content":{"rendered":"

\"\"I kdy\u017e spousta kulturn\u00edch aktivit z\u016fst\u00e1v\u00e1 v\u00a0Kolumbii omezen\u00e1, muzeum um\u011bn\u00ed Museo de Arte Miguel Urrutia<\/a>, kter\u00e9 spravuje N\u00e1rodn\u00ed banka zem\u011b, zah\u00e1jilo v druh\u00e9 polovin\u011b \u0159\u00edjna zaj\u00edmavou v\u00fdstavu jedn\u00e9 z\u00a0nejd\u016fle\u017eit\u011bj\u0161\u00edch p\u0159edstavitelek sou\u010dasn\u00e9ho kolumbijsk\u00e9ho um\u011bn\u00ed. V\u00fdstava nazvan\u00e1 Beatriz Gonz\u00e1lez: retrospektiva<\/em><\/strong> p\u0159in\u00e1\u0161\u00ed chronologick\u00fd p\u0159ehled um\u011bleck\u00e9 tvorby t\u00e9to mal\u00ed\u0159ky, socha\u0159ky, grafi\u010dky, histori\u010dky a um\u011bleck\u00e9 kriti\u010dky, kter\u00e1 z\u00a0velk\u00e9 \u010d\u00e1sti reflektuje historick\u00e9 a kulturn\u00ed prost\u0159ed\u00ed Kolumbie.<\/p>\n

V\u00fdstava je ve sv\u00e9 fyzick\u00e9 podob\u011b k vid\u011bn\u00ed do 7. prosince a to po p\u0159edchoz\u00ed rezervaci. Zkr\u00e1tka v\u0161ak nep\u0159ijdou ani milovn\u00edci um\u011bn\u00ed z jin\u00fdch \u010d\u00e1st\u00ed zem\u011b i sv\u011bta, kte\u0159\u00ed mohou vyu\u017e\u00edt r\u016fzn\u00fdch digit\u00e1ln\u00edch n\u00e1stroj\u016f a poznat jednotliv\u00e1 d\u00edla podrobn\u011bji. P\u0159ipravena je nap\u0159\u00edklad video tour, kterou div\u00e1ky provede p\u0159\u00edmo sama autorka, ale tak\u00e9 virtu\u00e1ln\u00ed prohl\u00eddka ve 3D form\u00e1tu nebo didaktick\u00e9 hry pro ty nejmen\u0161\u00ed. Videa kur\u00e1tor\u016f, kritik\u016f a dal\u0161\u00edch um\u011blc\u016f pak napom\u00e1haj\u00ed poznat osobnost t\u00e9to um\u011blkyn\u011b a porozum\u011bt v\u00fdvoji jej\u00ed tvorby.<\/p>\n

Nav\u0161t\u00edvit tuto jedine\u010dnou v\u00fdstavu znamen\u00e1 objevit moc um\u011bn\u00ed skrze p\u0159\u00edb\u011bhy, tvary, barvy a kontext, ve kter\u00e9m d\u00edlo vznikalo v\u00a0pr\u016fb\u011bhu v\u00edce ne\u017e pades\u00e1ti let tv\u016fr\u010d\u00ed \u010dinnosti t\u00e9to um\u011blkyn\u011b. Vyzna\u010duje se p\u0159edev\u0161\u00edm siln\u00fdm spojen\u00edm s\u00a0kolumbijskou identitou a pod\u00e1v\u00e1 sv\u011bdectv\u00ed o historii masakr\u016f, politick\u00fdch a soci\u00e1ln\u00edch konflikt\u016f v\u00a0zemi v\u00a0posledn\u00edch dek\u00e1d\u00e1ch. N\u011bkte\u0159\u00ed odborn\u00edci proto p\u0159irovn\u00e1vaj\u00ed jej\u00ed d\u00edlo ke Guernice<\/em> zn\u00e1m\u00e9ho \u0161pan\u011blsk\u00e9ho mal\u00ed\u0159e, socha\u0159e a b\u00e1sn\u00edka Pabla Picassa.<\/p>\n

\"\"Prohl\u00eddka za\u010d\u00edn\u00e1 Oponou pohybliv\u00e9 a m\u011bn\u00edc\u00ed se p\u0159\u00edrody<\/em> (1978), vyroben\u00e9 z\u00a0cirkusov\u00e9ho stanu v\u00a0podob\u011b obrovsk\u00e9ho z\u00e1v\u011bsu (osm metr\u016f na \u010dty\u0159i metry), na kter\u00e9m Gonz\u00e1lez ztv\u00e1rnila svou verzi obrazu Ob\u011bd na tr\u00e1v\u011b<\/em> mal\u00ed\u0159e \u00c9douarda Maneta. Toto d\u00edlo p\u0159ibli\u017euje n\u00e1v\u0161t\u011bvn\u00edk\u016fm po\u010d\u00e1te\u010dn\u00ed f\u00e1ze tvorby um\u011blkyn\u011b, kter\u00e1 se vyzna\u010duje pr\u00e1v\u011b\u00a0transformac\u00ed zn\u00e1m\u00fdch um\u011bleck\u00fdch d\u011bl. Vytvo\u0159ila tak i svou verzi obraz\u016f Vel\u00e1zqueze, Vermeera \u010di obrazy napodobuj\u00edc\u00ed techniku zn\u00e1m\u00e9ho kolumbijsk\u00e9ho mal\u00ed\u0159e a socha\u0159e Fernanda Botera, kdy d\u011bti na obr\u00e1zc\u00edch maj\u00ed viditeln\u011b nafoukl\u00e9 obli\u010deje. V\u00a0s\u00e1le m\u016f\u017eete naj\u00edt i dal\u0161\u00ed emblematick\u00e9 obrazy jako Kr\u00e1lovna Isabela<\/em> nebo jej\u00ed verzi obrazu Simon Bol\u00edvar<\/em>.<\/p>\n

P\u016fvodn\u00ed malby abstraktn\u011bj\u0161\u00edch figur z\u00a060. let dostaly o desetilet\u00ed pozd\u011bji figurativn\u011bj\u0161\u00ed charakter se siln\u00fdmi barvami, kter\u00e9 evokuuj\u00ed lidovou kulturu. Reprodukuje lidov\u00e9 postavy i n\u00e1bo\u017eensk\u00e9 motivy na n\u00e1bytku ka\u017edodenn\u00edho pou\u017eit\u00ed, inspiruje se v\u00a0d\u00edlech slavn\u00fdch um\u011blc\u016f i v barv\u00e1ch budov m\u011bsta Bucaramanga. Z\u00e1jemci mohou vid\u011bt i dva ze t\u0159\u00ed obraz\u016f nazvan\u00fdch Sebevrazi ze Sisgy<\/em>, zachycuj\u00edc\u00ed p\u00e1r vesni\u010dan\u016f, kte\u0159\u00ed se rad\u011bji zabili, ne\u017e aby museli \u010delit sexu\u00e1ln\u00ed touze, proto\u017ee jejich vztah musel z\u016fstat \u010dist\u00fd. Za vzor j\u00ed poslou\u017eil obr\u00e1zek z\u00a0m\u00edstn\u00edho tisku, kter\u00fd reprodukovala za pou\u017eit\u00ed jednoduch\u00fdch a p\u0159esto jedine\u010dn\u00fdch barev.<\/p>\n

\"\"Dal\u0161\u00ed uk\u00e1zka tvorby pak zahrnuje d\u00edla s\u00a0politickou a n\u00e1rodn\u00ed tematikou. Ke zm\u011bn\u011b zam\u011b\u0159en\u00ed u t\u00e9to um\u011blkyn\u011b doch\u00e1z\u00ed v\u00a080. letech za vl\u00e1dy prezidenta Turbaye, o kter\u00e9ho se velmi zaj\u00edmala. Byla fascinov\u00e1na jeho osobnost\u00ed i sd\u011blovac\u00edmi prost\u0159edky, a tak za\u010dala malovat jeho obr\u00e1zky, kter\u00e9 se objevovaly v\u00a0novin\u00e1ch. V\u00a0roce 1985, po n\u00e1siln\u00e9m obsazen\u00ed Pal\u00e1ce spravedlnosti v Bogot\u011b, se Gonz\u00e1lez rozhodla nepokra\u010dovat ve sv\u00fdch d\u00edlech s\u00a0pro ni charakteristick\u00fdm humorem, kter\u00fd se odr\u00e1\u017eel i v\u00a0intenzivn\u00edch a z\u00e1\u0159iv\u00fdch t\u00f3nech barev. Naopak za\u010d\u00edn\u00e1 objevovat modr\u00e9 a \u0161ed\u00e9 odst\u00edny v\u00a0ploch\u00fdch figur\u00e1ch, a ve sv\u00fdch d\u00edlech nov\u011b zachycuje p\u0159edev\u0161\u00edm bolest ob\u011bt\u00ed ignorace vl\u00e1d dan\u00e9ho obdob\u00ed.<\/p>\n

Pou\u017eit\u00edm jedine\u010dn\u00e9ho um\u011bleck\u00e9ho jazyka tak vytv\u00e1\u0159\u00ed sv\u011bdectv\u00ed a dokumentuje realitu na okraji z\u00e1jmu. Nap\u0159\u00edklad obraz Las delicias<\/em> (1997) vych\u00e1z\u00ed z\u00a0fotografi\u00ed matek voj\u00e1k\u016f, kte\u0159\u00ed byli zavra\u017ed\u011bni a uneseni p\u0159i obsazen\u00ed vojensk\u00e9 z\u00e1kladny Las Delicias v\u00a0roce 1996. Gonz\u00e1lez v\u00a0n\u011bm zachycuje utrpen\u00ed prost\u0159ednictv\u00edm pla\u010d\u00edc\u00edch obli\u010dej\u016f. V\u011bnuje se tak\u00e9 tematice imigrant\u016f, kte\u0159\u00ed denn\u011b pln\u00ed str\u00e1nky novin, pro \u010dten\u00e1\u0159e v\u0161ak z\u016fst\u00e1vaj\u00ed anonymn\u00edmi osobami.<\/p>\n

Expozice je v\u00fdsledkem p\u011btilet\u00e9ho v\u00fdzkumu dvou odborn\u00edk\u016f na um\u011bn\u00ed – Mari Carmen Ram\u00edrez, \u0159editelky sekce latinskoamerick\u00e9ho um\u011bn\u00ed Muzea um\u011bn\u00ed v\u00a0Houstonu, a Tob\u00edase Ostrandera, kur\u00e1tora v\u00a0muzeu um\u011bn\u00ed Prez Art Museum v\u00a0Miami.<\/p>\n

\"\"<\/p>\n

Od po\u010d\u00e1tku spo\u010d\u00edvala hlavn\u00ed snaha cel\u00e9ho projektu ve zviditeln\u011bn\u00ed d\u00edla Beatriz Gonz\u00e1lez na mezin\u00e1rodn\u00ed \u00farovni, i proto se s\u00a0jej\u00ed origin\u00e1ln\u00ed tvorbou mohli ji\u017e v\u00a0p\u0159edchoz\u00edch letech sezn\u00e1mit milovn\u00edci um\u011bn\u00ed nap\u0159\u00edklad v\u00a0Lond\u00fdn\u011b, v\u00a0New Yorku nebo v\u00a0N\u011bmecku. T\u00edm, \u017ee samotn\u00e1 autorka je z\u00e1rove\u0148 histori\u010dkou um\u011bn\u00ed a kur\u00e1torkou, kladla velk\u00fd d\u016fraz na chronologii v\u00fdstavy. Prost\u0159ednictv\u00edm jejich d\u011bl tak n\u00e1v\u0161t\u011bvn\u00edci z\u00edskaj\u00ed cenn\u00e9 lekce o um\u011bn\u00ed, historii a pozici kultury v\u00a0Kolumbii.<\/p>\n

Beatriz Gonz\u00e1lez Aranda se narodila v\u00a0listopadu 1932 v\u00a0kolumbijsk\u00e9m m\u011bste\u010dku Bucaramanga v\u00a0kraji Santander. V\u00a0roce 1956 za\u010dala studovat architekturu na N\u00e1rodn\u00ed univerzit\u011b Kolumbie, \u0161kolu ale nedokon\u010dila. A\u017e n\u00e1sledn\u011b vystudovala um\u011bn\u00ed na uzn\u00e1van\u00e9 soukrom\u00e9 univerzit\u011b Universidad de los Andes v\u00a0Bogot\u011b. Jej\u00edm hlavn\u00edm u\u010ditelem byl Antonio Roda.<\/p>\n

Zdroje: BanRepCultural.org<\/a>,\u00a0ElTiempo.com<\/a>, ElEspectador.com<\/a>. Foto 1<\/a>, foto 2<\/a>, foto 3<\/a>, foto 4<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

I kdy\u017e spousta kulturn\u00edch aktivit z\u016fst\u00e1v\u00e1 v\u00a0Kolumbii omezen\u00e1, muzeum um\u011bn\u00ed Museo de Arte Miguel Urrutia, kter\u00e9 spravuje N\u00e1rodn\u00ed banka zem\u011b, zah\u00e1jilo v druh\u00e9 polovin\u011b \u0159\u00edjna zaj\u00edmavou v\u00fdstavu jedn\u00e9 z\u00a0nejd\u016fle\u017eit\u011bj\u0161\u00edch p\u0159edstavitelek sou\u010dasn\u00e9ho kolumbijsk\u00e9ho um\u011bn\u00ed. V\u00fdstava nazvan\u00e1 Beatriz Gonz\u00e1lez: retrospektiva p\u0159in\u00e1\u0161\u00ed chronologick\u00fd p\u0159ehled um\u011bleck\u00e9 tvorby t\u00e9to mal\u00ed\u0159ky, socha\u0159ky, grafi\u010dky, histori\u010dky a um\u011bleck\u00e9 kriti\u010dky, kter\u00e1 z\u00a0velk\u00e9 \u010d\u00e1sti reflektuje…<\/p>\n","protected":false},"author":5,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[4,6,3],"tags":[],"_links":{"self":[{"href":"https:\/\/asocheca.org\/cz\/wp-json\/wp\/v2\/posts\/9762"}],"collection":[{"href":"https:\/\/asocheca.org\/cz\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/asocheca.org\/cz\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/asocheca.org\/cz\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/asocheca.org\/cz\/wp-json\/wp\/v2\/comments?post=9762"}],"version-history":[{"count":22,"href":"https:\/\/asocheca.org\/cz\/wp-json\/wp\/v2\/posts\/9762\/revisions"}],"predecessor-version":[{"id":9788,"href":"https:\/\/asocheca.org\/cz\/wp-json\/wp\/v2\/posts\/9762\/revisions\/9788"}],"wp:attachment":[{"href":"https:\/\/asocheca.org\/cz\/wp-json\/wp\/v2\/media?parent=9762"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/asocheca.org\/cz\/wp-json\/wp\/v2\/categories?post=9762"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/asocheca.org\/cz\/wp-json\/wp\/v2\/tags?post=9762"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}