{"id":527,"date":"2024-07-01T23:46:37","date_gmt":"2024-07-01T21:46:37","guid":{"rendered":"https:\/\/www.jozefsedlak.sk\/?post_type=galeria&p=527"},"modified":"2024-07-15T21:52:07","modified_gmt":"2024-07-15T19:52:07","slug":"pod-tvarou-2016","status":"publish","type":"galeria","link":"https:\/\/www.jozefsedlak.sk\/en\/galeria\/pod-tvarou-2016\/","title":{"rendered":"Pod tv\u00e1rou\u00a0 2016"},"content":{"rendered":"\n

Pod tv\u00e1rou  2016<\/strong><\/p>\n\n\n\n

Jozef Sedl\u00e1k nerie\u0161i len technologick\u00e9 \u010di experiment\u00e1lne mo\u017enosti fotografie, ale cez m\u00e9dium fotografie vypoved\u00e1 o v\u0161eobecne platn\u00fdch duchovn\u00fdch rozmeroch \u010dloveka s amb\u00edciou vyprovokova\u0165 ho k h\u013eadaniu odpoved\u00ed na najhlb\u0161ie ot\u00e1zky o zmysle \u013eudsk\u00e9ho bytia, smrti, zmysle bolesti a utrpenia, osude \u010dloveka a sveta, dot\u00fdka sa probl\u00e9mu absol\u00fatna a hran\u00edc \u013eudskej existencie. Dokumentuje to aj projekt s n\u00e1zvom Pod tv\u00e1rou prezentuj\u00faci dva cykly fotografi\u00ed, ktor\u00e9 sp\u00e1ja myst\u00e9rium transcendencie: vz\u0165ah prirodzen\u00e9ho a nadprirodzen\u00e9ho, sveta vidite\u013en\u00e9ho a sveta mystick\u00e9ho, bl\u00edzkeho a vzdialen\u00e9ho.<\/p>\n\n\n\n

Prv\u00fd cyklus je prezentovan\u00fd formou priestorovej in\u0161tal\u00e1cie, ktor\u00fa tvor\u00ed desa\u0165 objektov \u2013 stolov. Na povrchu ka\u017ed\u00e9ho stola je formou latentn\u00e9ho obrazu na klasickom fotografickom papieri reprodukovan\u00e1 tv\u00e1r Krista z Tur\u00ednskeho pl\u00e1tna, ktor\u00e1 sa div\u00e1kovi odhal\u00ed, ke\u010f odkryje vrchn\u00fd kryt stola. Pod vrchnou doskou ka\u017ed\u00e9ho stola je tie\u017e aplikovan\u00fd ve\u013ekoplo\u0161n\u00fd negat\u00edv z plexiskla s portr\u00e9tmi anonymn\u00fdch \u013eud\u00ed. Prostredn\u00edctvom prirodzen\u00e9ho svetla, ktor\u00e9 postupne (\u010dast\u00fdm dv\u00edhan\u00edm dosky \u2013 pr\u00faden\u00edm svetla a kontaktn\u00fdm dotykom r\u00fak div\u00e1ka na fotografickom podklade) presvet\u013euje negat\u00edv s portr\u00e9tmi \u013eud\u00ed, vznik\u00e1 mont\u00e1\u017e Kristovej tv\u00e1re s tv\u00e1rou \u010dloveka. \u010c\u00edm dlh\u0161ie je exponovanie podkladu, t\u00fdm viac sa Kristova tv\u00e1r men\u00ed, premie\u0148a na tv\u00e1r \u010dloveka. Ostros\u0165, \u010ditate\u013enos\u0165 latentn\u00fdch obrazov, teda tv\u00e1re Krista a tv\u00e1re \u010dloveka, je podmienen\u00e1 intenzitou svetla, d\u013a\u017ekou \u010dasu a opakovan\u00fdm vykl\u00e1pan\u00edm negat\u00edvu. Autorovi v\u0161ak nejde o experiment\u00e1lny proces s fotografiou, ale vyu\u017e\u00edva ho v symbolickej: proces latentnej fotografie so zobrazen\u00edm Kristovej tv\u00e1re prel\u00ednaj\u00facej sa a postupne spl\u00fdvaj\u00facej s tv\u00e1rou \u010dloveka je obrazom duchovnej cesty \u010dloveka.<\/p>\n\n\n\n

Portr\u00e9ty mojich bl\u00edzkych – sv\u00e4t\u00ed  2016 (1977)<\/strong><\/p>\n\n\n\n

Druh\u00fa \u010das\u0165 v\u00fdstavy tvor\u00ed cyklus fotografi\u00ed zachyt\u00e1vaj\u00faci portr\u00e9ty autorovi bl\u00edzkych \u013eud\u00ed, ktor\u00e9 vznikli v rozp\u00e4t\u00ed rokov 1987 a\u017e 2016. Projekt vznikol spont\u00e1nne, zrodil sa ako v\u00fdsledok autorovho zam\u00fd\u0161\u013eania sa nad zmyslom \u013eudsk\u00e9ho, je reflexiou nad hodnotou viery a prchavos\u0165ou materi\u00e1lneho sveta. Cyklus predstavuje portr\u00e9ty deviatich \u013eud\u00ed, ktor\u00fdm Jozef Sedl\u00e1k pripisuje status sv\u00e4tosti, a udalost\u00ed z ich \u017eivota. Ve\u013ekoplo\u0161n\u00e9 manipulovan\u00e9 posmrtn\u00e9 portr\u00e9ty s gloriolou s\u00fa po bokoch doplnen\u00e9 in\u0161tal\u00e1ciou men\u0161\u00edch spomienkov\u00fdch fotografi\u00ed s be\u017en\u00fdmi udalos\u0165ami z ich \u017eivota. Prostredn\u00edctvom fotografick\u00e9ho obrazu  akoby autor zachyt\u00e1val metafyziku \u013eudsk\u00e9ho bytia a jeho pozemsk\u00e9ho konca. V tomto pokuse zachyti\u0165, zobrazi\u0165 prechod zo \u017eivota do smrti vid\u00edme aj odkaz na Barthesovu t\u00e9zu \u201eprelamovania reality\u201c, na premie\u0148anie reality v transcendent\u00e1lnu sk\u00fasenos\u0165. Transcendent\u00e1lnu sk\u00fasenos\u0165 so smr\u0165ou, tak ako ju vn\u00edma Jozef Sedl\u00e1k v pr\u00edpade smrti jeho bl\u00edzkych, sprev\u00e1dza dimenzia sakr\u00e1lnosti. Symbolicky to vyjadruje nielen sp\u00f4sobom in\u0161tal\u00e1cie pripom\u00ednaj\u00facej ikonu (centr\u00e1lny v\u00fdjav s posmrtn\u00fdm portr\u00e9tom okolo ktor\u00e9ho s\u00fa akoby v klejme umiestnen\u00e9 v\u00fdjavy zo \u017eivota), ale aj inscenovanou sv\u00e4to\u017eiarou vy\u017earuj\u00facou z ich tv\u00e1r\u00ed, ktor\u00e1 ako aura vytv\u00e1ra okolo nich posv\u00e4tn\u00fd obal. Autor tu akoby polemizoval s cirkevn\u00fdmi pravidlami o ofici\u00e1lnom priznan\u00ed statusu sv\u00e4tosti, no len zdanlivo. Sacrum je v\u00edzia in\u00e9ho sveta, ktor\u00e1 vych\u00e1dza z in\u00e9ho sveta a \u201ezjavuje sa len tebe\u201c (Mircea Eliade). Sk\u00fasenos\u0165 so sacrum sa pribli\u017euje k estetickej sk\u00fasenosti, preto\u017ee v estetickej sk\u00fasenosti je obsiahnut\u00e1 aj sk\u00fasenos\u0165 mystick\u00e1. Ve\u013ekoplo\u0161n\u00e9 fotografie s posmrtn\u00fdmi portr\u00e9tmi s\u00fa vytvoren\u00e9 technikou tla\u010de na pl\u00e1tno, \u010d\u00edm autor otv\u00e1ra \u010fal\u0161iu rovinu jeho konceptu\u00e1lneho projektu. T\u00e1to simul\u00e1cia ma\u013eby, naru\u0161enie hran\u00edc fotografie a v\u00fdtvarn\u00e9ho prejavu je zase odvolan\u00edm sa na Waltera Benjamina a jeho koncepciu aury. Benjamin ch\u00e1pe auru ako \u010dosi neopakovate\u013en\u00e9, \u010do sa generuje samo v sebe, \u010do nie je mo\u017en\u00e9 vyr\u00e1ba\u0165, \u201efabrikova\u0165\u201c prostredn\u00edctvom techniky a rozli\u010dn\u00fdch manipul\u00e1ci\u00ed. Fotografi\u00e1m Jozefa Sedl\u00e1ka nech\u00fdba ani aura, ani sacrum.<\/p>\n\n\n\n

Beneath the Face  2016<\/strong><\/p>\n\n\n\n

Jozef Sedl\u00e1k does not only address the technological or experimental possibilities of photography, but through the medium of photography, he showcases the generally valid spiritual dimensions of man with the ambition to provoke him to find answers to the deepest questions about the meaning of human being, death, sense of pain and suffering, human fate and the world; he touches upon the problem of the absolute and the limits of human existence. It is also documented in a project titled Under the Face<\/em> presenting two cycles of photographs which are connected by the mystery of transcendence: the relationship between the natural and the supernatural, the world of the visible and the mystical, the near and the distant.<\/p>\n\n\n\n

The first cycle is presented as a spatial installation, consisting of ten objects – tables. On the surface of each table, the face of Christ of Shroud of Turin<\/em> is reproduced in the form of a latent image on classic photographic paper, revealing itself to the viewers when they uncover the top cover of the table. Beneath the top of each table a large-format Plexiglas negative with portraits of anonymous people is also applied. Through natural light that gradually (by frequent lifting of the plate – the flow of light and the contact of the viewer’s hands on the photographic background) illuminates negatives with portraits of people, Christ’s face is gradually merged into a montage along with the face of the person. The longer the substrate is exposed, the more the face of Christ changes into the face of the person. Sharpness, the discernibility of latent images, that is, the face of Christ and the face of the person, are conditioned by the intensity of light, the length of time, and the repeated tipping out of the negative. The author, however, is not concerned with the experimental process with a photograph, but uses it in a symbolic way: the process of latent image with the portrait of Christ’s face, which overlaps and gradually merges with the face of the person, is the image of the spiritual path of man.<\/p>\n\n\n\n

Portraits of My Loved Ones \u2013 Saints  2016 (1987)<\/strong><\/p>\n\n\n\n

The second part of the exhibition consists of a cycle of photographs capturing portraits of people close to the author, which had been produced between 1987 and 2016. The project began spontaneously, born as a result of the author’s contemplation over the sense of the human, reflecting on the value of faith and the volatility of the material world. The cycle represents portraits of nine people, to whom Jozef Sedl\u00e1k attributes the status of holiness, and the events of their lives. Large-formate manipulated post-mortem portraits with a gloriole are complemented on the side by the installation of smaller memorial photos with common events from their lives. Through the photographic image, the author captured the metaphysics of the human being and its earthly end. In this attempt to capture and display the transition from life to death, we also see a reference to Barthes’ thesis of “penetration of reality”, to transmuting reality into transcendental experience. The transcendental experience of death, as perceived by Jozef Sedl\u00e1k in the case of deaths of people close to him, is accompanied by the sacral dimension. Symbolically, it is expressed not only by way of the installation resembling an icon (the central scene with the posthumous portrait around which scenes from life are placed in the sides), but also with a staged halo radiating from their faces, which, as an aura, creates a sacred envelope around them. The author appears to dispute the Church’s official rules on declaring someone a saint. Sacrum is a vision of another world that derives from another world and it “only appears to you” (Mircea Eliade). Experience with the sacrum is closer to an aesthetic experience because the aesthetic experience is also inclusive of a mystical experience. Large-format photos with posthumous portraits are created using the technique of canvas printing, which enables the author to enter the next level of his conceptual project. This simulation of painting, disturbing the boundaries of photography and visual expression is in turn a reference to Walter Benjamin and his concept of \u2018aura\u2019. Benjamin understands the aura as something unrepeatable, which is generated in itself, which cannot be produced, “fabricated” by techniques and various manipulations. Neither aura nor sacrum is missing from the photographs by Jozef Sedl\u00e1k.<\/p>\n","protected":false},"featured_media":548,"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-527","galeria","type-galeria","status-publish","has-post-thumbnail","hentry","kat-projekty-1980-2024"],"acf":[],"yoast_head":"\nPod tv\u00e1rou\u00a0 2016 - 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