{"id":457,"date":"2024-07-01T23:36:17","date_gmt":"2024-07-01T21:36:17","guid":{"rendered":"https:\/\/www.jozefsedlak.sk\/?post_type=galeria&p=457"},"modified":"2024-07-15T21:45:59","modified_gmt":"2024-07-15T19:45:59","slug":"balady-1999-2023-solitery-1994-1995","status":"publish","type":"galeria","link":"https:\/\/www.jozefsedlak.sk\/en\/galeria\/balady-1999-2023-solitery-1994-1995\/","title":{"rendered":"Balady 1999 \u2013 2023, Solit\u00e9ry 1994 \u2013 1995"},"content":{"rendered":"\n

Balady 1999 \u2013 2023, Solit\u00e9ry 1994 \u2013 1995<\/strong><\/strong><\/p>\n\n\n\n

Pri kon\u0161truovan\u00ed koncepcie Bal\u00e1d<\/strong> (1999) sa autor dlho pohr\u00e1val s my\u0161lienkou spracovania typick\u00fdch \u013eudsk\u00fdch \u010d\u0155t, povahy, charakterov\u00fdch danost\u00ed a rekon\u0161trukcie kolekt\u00edvnej pam\u00e4te vo vizu\u00e1lnej \u0161tylistike personifikovania hlavn\u00fdch mot\u00edvov slovensk\u00fdch bal\u00e1d, piesn\u00ed, povest\u00ed a rozpr\u00e1vok, kde smr\u0165, strata, dramatickos\u0165, pover\u010divos\u0165, osudovos\u0165, prekliatie a sp\u00e4tos\u0165 s tajomnou a krutou pr\u00edrodou bola nevysvetlite\u013en\u00fdm, nedokon\u010den\u00fdm a neodkryt\u00fdm tajomstvom vn\u00fatra \u010dloveka. Personifikovan\u00e9 temn\u00e9 sily m\u00e1gie, obrady, \u017eivly, \u010darodejnice, d\u00e9moni, v\u00edly, duchovia a silnej\u00face pr\u00edrodn\u00e9 mat\u00e9rie, ako v\u00edchrica, voda, les, l\u00edstie, nasvet\u013eoval diaprojektorom v pr\u00edrodn\u00fdch exteri\u00e9roch, \u010do bolo vlastne prv\u00fdkr\u00e1t, kedy t\u00fato autorsk\u00fa techniku aplikoval mimo ateli\u00e9ru (predt\u00fdm v ateli\u00e9ri takto vznikol napr. cyklus Solit\u00e9ry <\/strong>a i.). Pri takejto projekcii mohol vo\u013ene meni\u0165 smer sveteln\u00e9ho l\u00fa\u010da, teda tok svetla, \u010d\u00edm na z\u00e1beroch miestami vznik\u00e1 dvojzna\u010dn\u00e1 neostros\u0165. T\u00e1to technol\u00f3gia svietenia mu okrem toho umo\u017enila aj selekt\u00edvne nasvietenie jednotliv\u00fdch \u010dast\u00ed (ako je napr. drap\u00e9ria). Sedl\u00e1k nech\u00e1va vyznie\u0165 expres\u00edvnu a dramatick\u00fa atmosf\u00e9ru t\u00fdchto \u010dudesn\u00fdch a desiv\u00fdch v\u00fdjavov aj v kontexte slovansk\u00fdch ritu\u00e1lov a obradov. V temn\u00fdch mot\u00edvoch Sedl\u00e1kov\u00fdch Bal\u00e1d<\/strong> a ich takmer barokovo preplnen\u00fdch kompoz\u00edci\u00e1ch \u010d\u00edtame odkazy a cit\u00e1cie na Goyove grafick\u00e9 lepty pr\u00edzrakov a pr\u00ed\u0161er z Los Caprichos.<\/em> Podobne ako Francisco Goya, aj Jozef Sedl\u00e1k disponuje a vynik\u00e1 psychologick\u00fdm pozorovac\u00edm talentom, o \u010dom sved\u010d\u00ed aj vrcholn\u00e1 \u0161tyliz\u00e1cia v\u00fdjavov bl\u00e1znovstva a no\u010dnej mory, v kontexte z\u00e1kladn\u00e9ho stavebn\u00e9ho prvku v dielach romantick\u00fdch spisovate\u013eov ako Botto \u010di Erben. T\u00e1to brut\u00e1lna po\u00e9zia romantizmu a met\u00f3dy kontrastu k \u013eudov\u00fdm trad\u00edci\u00e1m, ktor\u00e1 pritom z\u00e1rove\u0148 re\u0161pektuje postupy baladick\u00e9ho \u017e\u00e1nru, zv\u00fdraz\u0148uje najm\u00e4 tragick\u00e9 \u017eivotn\u00e9 pocity. Tak ako v melodramatick\u00fdch Erbenov\u00fdch \u013eudov\u00fdch porekadl\u00e1ch a rozpr\u00e1vkach, tak aj v Sedl\u00e1kov\u00fdch fotografick\u00fdch obrazoch a metafor\u00e1ch o\u017e\u00edvaj\u00fa rur\u00e1lne mot\u00edvy a \u010dasti \u013eudsk\u00fdch tiel v exteri\u00e9roch pr\u00edrody. Projekt Bal\u00e1d<\/strong> mal autor rozpracovan\u00fd dlh\u0161iu dobu (akoby tieto baladick\u00e9 v\u00fdjavy \u010dakali a\u017e na \u00e9ru digit\u00e1lu), av\u0161ak a\u017e posunom anal\u00f3gov\u00fdch skenov do digit\u00e1lnej \u00fapravy, retu\u0161e a premeny nach\u00e1dza jemu vlastn\u00e9 vyhovuj\u00face a \u0161pecifick\u00e9 obrazov\u00e9 stanovisk\u00e1, av\u0161ak r\u00e1d nech\u00e1va vyznie\u0165 aj nedostatky a chyby p\u00f4vodn\u00fdch anal\u00f3gov\u00fdch z\u00e1berov.<\/p>\n\n\n\n

Solit\u00e9ry<\/strong> je s\u00fa\u010das\u0165ou fotografick\u00e9ho cyklu Presila my\u0161lienok (Intu\u00edcia n\u00e1sobku) <\/em>z rokov1994 \u2013 1995, kde autor pracuje s multiplik\u00e1ciou \u010dast\u00ed \u013eudsk\u00fdch tiel a r\u00f4znych, ikonograficky k\u013e\u00fa\u010dov\u00fdch predmetov, aby nach\u00e1dzal obsahov\u00fa paralelu medzi nepriamou referenciou na kone\u010dn\u00e9 \u201cmemento mori\u201d v symbolike utrpenia a zrady a vetnou morfol\u00f3giou, ktor\u00e1 sa pretavuje do morfol\u00f3gie obrazu. V preplnenosti t\u00fdchto amorfn\u00fdch z\u00e1ti\u0161\u00ed plyn\u00fa obrazy podobne, ako plyn\u00fa slov\u00e1 a vety. V\u00fdznam jednotliv\u00fdch atrib\u00fatov, ako \u0161pag\u00e1t, klince, poh\u00e1r s kry\u0161talicky priezra\u010dnou vodou, svie\u010dka \u010di rozbit\u00e9 zrkadlo, hovor\u00ed o nemo\u017enosti komunik\u00e1cie, zviazanosti em\u00f3ciami a my\u0161lienkami, utrpen\u00ed, jedinosti Boha, naru\u0161en\u00ed pravdivosti reality, symbolike krstu a plnosti \u010dasu, ktor\u00e9mu nem\u00f4\u017eeme unikn\u00fa\u0165. \u201eJe mo\u017en\u00e9 veri\u0165 v Absol\u00fatno a pritom tvrdi\u0165, \u017ee je nepredstavite\u013en\u00e9 a nedefinovate\u013en\u00e9? Ur\u010dite \u00e1no, ak nemo\u017en\u00fa predstavu Absol\u00fatna nahrad\u00edme pocitom Absol\u00fatna, a teda vierou, ktor\u00e1 je podstatou d\u00fafan\u00fdch vec\u00ed. Slovami Franza Kafku \u201aje mo\u017en\u00e9 hovori\u0165 s Bohom, ale nie o Bohu\u2018, alebo je zdrojom neop\u00edsate\u013en\u00fdch em\u00f3ci\u00ed mystika J\u00e1na z Kr\u00ed\u017ea, ktor\u00e1 m\u00f4\u017ee vy\u00fasti\u0165 do zav\u0155\u0161enej formy jedinej mo\u017enej pravdy, preto\u017ee veri\u0165, \u017ee existuje nie\u010do pravdiv\u00e9, m\u00e1 pre pre\u017eitie \u013eud\u00ed z\u00e1sadn\u00fd v\u00fdznam\u201c(Umberto Eco). Autor je tak vo svojom viden\u00ed a v snahe nazerania na svet \u201czhora\u201d prenesen\u00fd do sveta \u201cmo\u017en\u00fdch vec\u00ed\u201d, zd\u00f4raz\u0148uje ukotvenie \u010dloveka a jeho neust\u00e1leho vz\u010fa\u013eovania a pribli\u017eovania sa \u201cposlednej bud\u00facnosti\u201d s apelat\u00edvnym d\u00f4razom na apokalyptick\u00fd koniec sveta v interpreta\u010dnej konot\u00e1cii v\u00fdjavu zo Zjavenia J\u00e1na.<\/p>\n\n\n\n

Ballads 1999 \u2013 2023, Solitaires 1994 \u2013 1995<\/strong><\/strong><\/p>\n\n\n\n

To construct the concept of Ballads (1999), the author spent a long time toying with the idea of how to treat typical human traits, character features, and the reconstruction of collective memory in the visual stylistics of personifying the main motifs of Slovak ballads, songs, legends, and fairy tales, where death, loss, drama, superstition, fatality, curse, and communion with the mysterious and cruel nature repre-sented an unfathomable, unfinished, and unrevealed secret of the inside of a human being. Personified dark powers of magic, rituals, elements, witches, demons, fairies, ghosts, and powerful natural matters, such as windstorms, water, woods, leaves, were illuminated by a slide projector in natural exteriors, which was actually the first time he had applied this technique outside a studio (before, the cycle Solitaires, among others, had been created in this way in a studio). Thanks to the projection, he was able to change the direction of the light beam, i.e., the flow of light freely, resulting in an equivocal blurriness on parts of the shots. This technology of lighting also enabled him to selectively illuminate individual parts (such as, for example, the drapery). Sedl\u00e1k lets the expressive and dramatic atmosphere of these strange and eerie scenes resonate also in the context of Slavic rituals and rites. In Sedl\u00e1k\u2019s Ballads and their almost Baroque-style overfilled com-positions, we can read references and quotes of Goya\u2019s graphic etchings of ghosts and monsters from Los Caprichos. Similarly to Francisco Goya, Jozef Sedl\u00e1k also possesses and stands out for his talent for psychological observation, which is proved also by the ultimate stylization of scenes of madness and nightmare, within the context of structural elements in the artworks by Romantic writers, such as Botto or Erben. This brutal poetry of Romanticism and a method of contrast to folk traditions, while respecting the structure of the ballad genre, highlights the tragical feelings of life. Just as in Erben\u2019s melodramatic folk adages and fairy tales, rural motifs and parts of human bodies come to life in Sedl\u00e1k\u2019s photographic images and metaphors. Although the project of Ballads had been a work in progress for a longer time (as if these ballad scenes awaited the digital era), it was the shift of analogue scans into digital editing, retouching, and transfor-mation that allowed him to find his own, suitable and specific image positions, although he likes letting the imperfections and faults of the original analogue shots be seen.<\/p>\n\n\n\n

Solitaires<\/strong> is a part of photographic cycle The Overwhelm of Thoughts (Intuition of Multiple) from 1994 \u2013 1995, where the author works with multiplication of human body parts and various, iconographically vital, objects, aiming to find a content parallel between an indirect reference to the \u201cmemento mori\u201d within the symbolism of suffering and betrayal and the sentence morphology that translates into the morphology of an image. In the overfullness of these amorphous still lifes, images flow similarly to the flow of words and sentences. The role of individual attributes, such as the string, nails, glass of crystal-clear water, candle or broken mirror, is to express an impossibility of communication, being bound by emotions and thoughts, suffering, the oneness of God, distortion of the truthfulness of reality, the symbolism of christening, and fullness of time that we cannot escape from. \u201cIs it possible to believe in an absolute and state that it is unthinkable and undefinable? Of course, by accepting the substitution of the impossible thought of the absolute with the feeling of the absolute and hence of faith, since faith is the substance of things that are hoped for. Quoting Franz Kafka, \u2018it is possible to talk with God but not about God\u2019, or as St. John of the Cross would have told us it was only his mystical experience of the absolute that guaranteed him the sole possi\u2011 ble truth. The belief that some things are true is of fundamen\u2011 tal importance for the survival of humankind\u201d (Umberto Eco).  The author in his perception and attempt to look at the world \u201cfrom above\u201d is thus transferred to the world of \u201cpossible things\u201d; he accentuates the anchoring of a human being and their constant movement towards and away from \u201cthe last future\u201d, with an appealing emphasis on an apocalyptic end of the world within interpretational connotation of the scene from Revelation to John.<\/p>\n","protected":false},"featured_media":475,"template":"","meta":{"_acf_changed":true,"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}}},"kat":[10],"class_list":["post-457","galeria","type-galeria","status-publish","has-post-thumbnail","hentry","kat-projekty-1980-2024"],"acf":[],"yoast_head":"\nBalady 1999 \u2013 2023, Solit\u00e9ry 1994 \u2013 1995 - Jozef Sedl\u00e1k<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.jozefsedlak.sk\/en\/galeria\/balady-1999-2023-solitery-1994-1995\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Balady 1999 \u2013 2023, Solit\u00e9ry 1994 \u2013 1995 - Jozef Sedl\u00e1k\" \/>\n<meta property=\"og:description\" content=\"Balady 1999 \u2013 2023, Solit\u00e9ry 1994 \u2013 1995 Pri kon\u0161truovan\u00ed koncepcie Bal\u00e1d (1999) sa autor dlho pohr\u00e1val s my\u0161lienkou spracovania typick\u00fdch […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.jozefsedlak.sk\/en\/galeria\/balady-1999-2023-solitery-1994-1995\/\" \/>\n<meta property=\"og:site_name\" content=\"Jozef Sedl\u00e1k\" \/>\n<meta property=\"article:modified_time\" content=\"2024-07-15T19:45:59+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.jozefsedlak.sk\/wp-content\/uploads\/2024\/07\/Balady_1.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1513\" \/>\n\t<meta property=\"og:image:height\" content=\"1200\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"8 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.jozefsedlak.sk\\\/en\\\/galeria\\\/balady-1999-2023-solitery-1994-1995\\\/\",\"url\":\"https:\\\/\\\/www.jozefsedlak.sk\\\/en\\\/galeria\\\/balady-1999-2023-solitery-1994-1995\\\/\",\"name\":\"Balady 1999 \u2013 2023, Solit\u00e9ry 1994 \u2013 1995 - 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