2005\/11 Academy of Arts, Architecture and Design in Prague<\/p>\r\n
2008 internship at the studio of animation, V\u0160UP<\/p>\r\n
2001\/05 High School of Graphic in Prague<\/p>\r\n
internships<\/p>\r\n
2015 Gallery Syntax, Lisbon, Portugal<\/p>\r\n
2012 HERE- Creative Centre in St\u00f6\u00f0varfj\u00f6r\u00f0ur, Iceland<\/p>\r\n
2008 Bellas Artes, Valencia, Spain<\/p>\r\n
2004 Grant project Crossroads For Ideas, British Council<\/p>","groups":null,"membership":"
\u010dlenstv\u00ed ve skupin\u011b LFW<\/p>","exhibitions_solo":"2015\r\n\u00dasm\u011bv stoj\u00ed m\u00e9n\u011b ne\u017e elekt\u0159ina a d\u00e1v\u00e1 v\u00edce sv\u011btla, Galerie TIC, Brno \/s B\u00e1rou Fastrovou\/\r\nWET WET SUNSET EAR ON A WALL, Galerie Syntax, Lisabon \/s Anou Manso\/\r\n\r\n2014 \r\nMOKR\u00dd MOKR\u00dd, Fait Gallery, Brno\r\nNetla\u010d \u0159eku, te\u010de sama, Berl\u00ednskej model, Praha \/s B\u00e1rou Fastrovou\/\r\n\r\n2013 \r\nK\u00e1men, n\u016f\u017eky, pap\u00edr, Galerie 35m2, Praha\r\n\r\n2012 \r\nP\u0159iznan\u00e1 barva, Galerie Laboratorio, Praha\r\nKrajina bez jm\u00e9na, Galerie Fiducia, Ostrava\r\nPodtlak, Start-up, Galerie U Kamenn\u00e9ho zvonu, Praha\r\n\r\n2011 \r\nPrvn\u00ed p\u00e1d je j\u00e1, Galerie Josefa Sudka, Praha\r\n\r\n2009 \r\nBl\u00ed\u017eenci, Galerie Pavilon, Praha\r\n\r\n2008 \r\nBez sebe spolu, Galerie Photoport, Bratislava \/s Barborou Pivo\u0148kovou\/","exhibitions_group":"2015\r\nFragmenty mno\u017ein, Galerie Fait, Brno\r\nDelta, \u010cesk\u00e9 centrum, Berl\u00edn\r\n\r\n2014 \r\nHIN MAH TOO YAH LAT KEKT, Fotograf festival, Praha\r\nRozmary, Fotofestival Moravsk\u00e1 T\u0159ebov\u00e1\r\nO \u017eidli, Bien\u00e1le Fotografie, Li\u00e9ge, Brusel\r\n\r\n2013 \r\nBl\u00edzko ode mn\u011b, Galerie Armaturka, \u00dast\u00ed nad Labem\r\nVyst\u0159elen\u00fd \u0161rapnel uklidn\u00ed pozorovatele, Czech China Contemporary, Peking\r\nVnit\u0159n\u00ed okruh, GHMP\r\nS\u00e1m doma, NoD, Praha\r\nTetradekagon, Galerie Fait, Brno\r\n\r\n2012\r\nPonorn\u00e1 \u0159eka, Dox, Praha\r\nZapomenout d\u00fdchat, galerie Rampa, Ust\u00ed nad Labem\r\nVI. Zl\u00ednsk\u00fd sal\u00f3n mlad\u00fdch, Zl\u00edn\r\n\r\n2010 \r\nRozpt\u00fdlen\u00e9 slou\u010deniny, Fotofest, Uni\u010dov\r\n\r\n2008 \r\nEgo, Galerie Langhans,Praha\r\nTo nepodstatn\u00e9, M\u00e1nes, Praha\r\n\r\n2007 \r\nStill Alive, Kr\u00e1sn\u00fd Ztr\u00e1ty, Praha\r\n\u0160estka, Pra\u017esk\u00fd d\u016fm fotografie, Praha","realizations_other":"
2012 Knedl\u00edky, House of Cards \/fanzine\/<\/p>","collections":"
PPF, Galerie Fait, sb\u00edrka Cyrilla Marounka<\/p>","monographies":"","articles":"","reviews":"","texts_unlisted":"","annotations":[{"text":"
It would be misleading to speak exclusively about the media of photography in the context of the current work of Johana Po\u0161ov\u00e1. Although photography has always been and surely always will be an inseparable part of her work, the question remains to what extent, at what moment and especially in what role.<\/p>\r\n
Although her early work is practically based on classical photography, we can observe, already during her studies at the Academy of Arts, Architecture and Design, hints of attempts to cross this medium, or to be precise, using methods offered by photography, to step out of this media with the goal to find some sort of a more real and tangible materialization of the presented \u2013 often significantly abstracted reality. It should be mentioned that this is not a need to limit herself to the media of photography, but rather accent its boundaries, especially at the time when artificial composition in front of a camera has become an instrumental element of the daily life thanks to the Internet, social networks and the digitalization of composed \u2013 often aestheticized reality.<\/p>\r\n
We can perceive Po\u0161ov\u00e1\u2019s work with photogram as one of the first indications of this shift in her work. It started to appear in her work in various variations in 2009 and it can be perceived as the beginning of a deeper conceptualization of her work. Even here the artist doesn\u2019t abandon the principles of composition; these, however take place in a darkroom instead of in front of a camera. Here the artist plays out the game of lighting up and layering selected objects, making up complex diagrams of physical units. As an example, we can look at the series of photograms from the exhibition Bl\u00ed\u017eenci (Gemini) (2009<\/em>), where Johana Po\u0161ov\u00e1 completely gives up the image potential of the media of photography and focuses her interest on the material aspect and volume of the selected mass of objects, which she presents as a complex unit rather than individual objects \u2013 personal universe that connects all objects together. It is a type of a challenge \u2013 to capture the uncatchable, to seize in an image the world of an individual whose complexness and volume is hardly possible to capture with one print on a single piece of photo paper.<\/p>\r\n The need to struggle with realistic matter, real objects and their material aspect is typical for the work of Johana Po\u0161ov\u00e1 and it reflects in her later work as well. The objects chosen by her are increasingly larger and the compositions accent detail. The illuminated objects, fragments, openings and diagrams are composed into collage units, creating some kind of a strange form of a dream reality \u2013 of a distant landscape that is in its essence very close to us in many respects and perhaps for that reason it makes us feel uncomfortable (Krajina beze jm\u00e9na (Landscape Without a Name), 2012, K\u00e1men n\u016f\u017eky pap\u00edr (Rock, Paper, Scissors), 2013<\/em>).<\/p>\r\n In spite of the fact that Po\u0161ov\u00e1 practically parted with the figure, which used to be typical especially for her work between 2007 \u2013 2011, we can find some of the principles that the artist used to use in figurative photography in her work today. This includes primarily a form of battle, strangeness, diversion from reality, but also being magical. We were also confronted with one of its forms at the exhibition P\u0159iznan\u00e1 barva (Admitted Colour), 2013.<\/em><\/p>\r\n The exhibition can be read in two levels \u2013 the first is undoubtedly the question connected with the challenging of the authenticity of the photographic media and its trueness, which the exhibition without a doubt reflects. The second, and in the context of Johana Po\u0161ov\u00e1\u2019s work I dare to say more important, is the principle of strangeness and magic in general, where the magic or trick works as a natural disruptor of a rational understanding of reality, opening up the space to the personal universe of an individual where only he\/she alone can determine the extent of truth, tangibility and seizability of this reality.<\/p>\r\n The cooperation with Barbora Fastrova is built on a similar principle of producing something strangely dreamlike, specifically the collective project Netla\u010d \u0159eku, te\u010de sama (Don\u2019t Push the River, It Flows on its Own), 2014<\/em>. Cooperating with Fastrova shifts the language of Po\u0161ov\u00e1 to another level. The matter in hand is no longer the production of personal universe, but of a parallel reality, where the installation \u2013 similarly as in the case of photograms \u2013 interconnects its parts on the basis of free associations, having in this case the form of a bizarrely absurd story \u2013 fairytales for adults, story about a snake, fountain with custard, buns and a robotic vacuum cleaner. Similarly as in the case of the already mentioned Landscape without a Name <\/em>or the exhibition Rock, Paper, Scissors<\/em>, also here we can speak about some kind of a close meeting, which is in reality, in its confusion and absurdity, in many respects the reflexion of today\u2019s similarly chaotic reality.<\/p>\r\n For now Johana Po\u0161ov\u00e1\u2019s last project is the installation Wet Wet Sunset (2014). <\/em> Similarly as in her preceding projects, a photogram is one of the first elements of the installation, this time only a part of it, however. Interest in the material aspect is emphasized here primarily in the work with material outside of the photographic medium. Hand woven textiles and the handwork related to them reflects not only fascination with material but at the same time principles that the artist uses in the darkroom, referring to the dialectic relationship between the parts that use photographic principles and the parts that help to form this principle. This is about a strangely abstract word, materials, objects, fragments, material and space. The point is no longer representation but rather an effort to turn everything upside down and reveal the seams, where the chaos of the intertwining threads is actually the most exact materialization of how things actually are.<\/p>","date":0,"authors":[0]},{"text":" V Ateli\u00e9ru fotografie na UMPRUM tak\u00e9 za\u010dala spolupr\u00e1ce Barbory Fastrov\u00e9 s jej\u00ed tehdej\u0161\u00ed spolu\u017ea\u010dkou Johanou Po\u0161ovou, s n\u00ed\u017e dodnes tvo\u0159\u00ed um\u011bleck\u00e9 duo. Um\u011blkyn\u011b se ve sv\u00e9 spole\u010dn\u00e9 tvorb\u011b a ve v\u00fdstavn\u00edch projektech prezentovan\u00fdch jak v \u010desk\u00fdch a zahrani\u010dn\u00edch galeri\u00edch, tak i ve ve\u0159ejn\u00e9m prostoru nej\u010dast\u011bji zab\u00fdvaj\u00ed t\u00e9matem nad\u0159azen\u00e9ho vztahu civilizovan\u00e9ho z\u00e1padn\u00edho \u010dlov\u011bka v\u016f\u010di p\u0159\u00edrod\u011b, p\u0159i\u010dem\u017e se inspiruj\u00ed p\u0159\u00edb\u011bhy nebo legendami domorod\u00fdch n\u00e1rod\u016f. Dal\u0161\u00edm t\u00e9matem, kter\u00e9 dlouhodob\u011b rozv\u00edjej\u00ed, je ekologick\u00fd p\u0159\u00edstup a udr\u017eitelnost v r\u00e1mci um\u011bleck\u00e9ho provozu. <\/p>\r\n Jejich prvn\u00ed v\u00fdraznou prezentac\u00ed byla v\u00fdstavn\u00ed trilogie, kterou pojilo heslo \u201eLife finds a way\u201c, co\u017e je v\u00fdrok z filmu Jursk\u00fd park, do \u010de\u0161tiny p\u0159ekl\u00e1dan\u00fd jako \u201ep\u0159\u00edroda si najde cestu\u201c. V r\u00e1mci t\u0159ech v\u00fdstav prob\u011bhl\u00fdch v galerii Berlinskej model v Praze (Netla\u010d \u0159eku, te\u010de sama<\/em>, 2014), v brn\u011bnsk\u00e9 Galerii TIC (\u00dasm\u011bv stoj\u00ed m\u00e9n\u011b ne\u017e elekt\u0159ina a d\u00e1v\u00e1 v\u00edce sv\u011btla<\/em>, 2015) a nakonec v Galerii Syntax v Lisabonu (Brother<\/em>, 2016) se zam\u011b\u0159ily na \u010dlov\u011bkem vytv\u00e1\u0159enou \u201eum\u011blou p\u0159\u00edrodu\u201c a specifick\u00e1 prost\u0159ed\u00ed, jako jsou zoologick\u00e1 zahrada, podvodn\u00ed sv\u011bt nebo n\u00e1podoba tropick\u00e9ho ostrova, tedy na m\u00edsta, kter\u00e1 lidem navozuj\u00ed dojem divok\u00e9 p\u0159\u00edrody, av\u0161ak v bezpe\u010d\u00ed jejich vlastn\u00edho, od t\u00e9to divo\u010diny odd\u011blen\u00e9ho sv\u011bta. V instalac\u00edch, je\u017e obsahovaly kombinaci objekt\u016f z pap\u00edrma\u0161\u00e9, ready-made objekt\u016f \u2013 jako byly nap\u0159\u00edklad um\u011bl\u00e9 sv\u00edt\u00edc\u00ed med\u00fazy v akv\u00e1riu nebo had z potrubn\u00ed hadice \u2013, videoprojekc\u00ed nebo textiln\u00edch d\u011bl, se projevovala jejich inspirace z pobytu v Ji\u017en\u00ed Americe. Ze setk\u00e1n\u00ed s kulturami tamn\u00edch domorod\u00fdch kmen\u016f si um\u011blkyn\u011b p\u0159ivezly legendy, kter\u00e9 na v\u00fdstav\u00e1ch pou\u017e\u00edvaly jako nosn\u00fd narativn\u00ed prvek. A nap\u0159\u00edklad p\u0159\u00edb\u011bh o dvou bratrech, z nich\u017e jeden byl zl\u00fd a druh\u00fd dobr\u00fd, um\u011blkyn\u011b p\u0159enesly do kontextu ekologick\u00e9 krize a absurdn\u00edho p\u0159\u00edstupu \u010dlov\u011bka k p\u0159\u00edrod\u011b v sou\u010dasn\u00e9m sv\u011bt\u011b. Fastrov\u00e1 s Po\u0161ovou ov\u0161em s r\u016fzn\u00fdmi legendami, poh\u00e1dkami nebo s p\u0159\u00edb\u011bhy o b\u00e1jn\u00fdch bytostech pracuj\u00ed pravideln\u011b, d\u00edky \u010demu\u017e se do jejich d\u00edla dost\u00e1v\u00e1 lehkost a hravost, ale i hloubka sd\u011blen\u00ed bez nadbyte\u010dn\u00e9ho patosu.<\/p>\r\n Pod heslem \u201eLife finds a way\u201c um\u011blkyn\u011b tak\u00e9 uspo\u0159\u00e1daly s\u00e9rii t\u0159\u00ed jednove\u010dern\u00edch ud\u00e1lost\u00ed, kter\u00e9 prob\u011bhly v r\u00e1mci jejich rezidence v INI Gallery v roce 2017. Zam\u011b\u0159ily se zde na pochody a org\u00e1ny v lidsk\u00e9m t\u011ble v souvislosti s p\u0159\u00edrodn\u00edmi cykly nebo s d\u00e1vn\u00fdmi ritu\u00e1ly. Nejprve se v ud\u00e1losti nazvan\u00e9 Pickdick Picnic <\/em>zam\u011b\u0159ily na pohlavn\u00ed org\u00e1n, sexualitu a princip d\u00e1v\u00e1n\u00ed a bran\u00ed, kdy si n\u00e1v\u0161t\u011bvn\u00edk dom\u016f odnesl keramickou falickou so\u0161ku. Na druh\u00e9 akci Lover\u2019s digest jazz dinner<\/em> se v\u011bnovaly tr\u00e1v\u00edc\u00edm org\u00e1n\u016fm a na hostin\u011b se p\u0159i zvukov\u00e9m doprovodu saxofon\u016f jedl chl\u00e9b upe\u010den\u00fd ve tvaru st\u0159ev. Posledn\u00ed ve\u010der Buch Buch Ceremony<\/em> byl v\u011bnov\u00e1n srdci a jeho rytmu. A\u010dkoliv zde vybo\u010dily ze sv\u00fdch p\u0159edchoz\u00edch, ekologicky sm\u011b\u0159ovan\u00fdch t\u00e9mat, asi poprv\u00e9 se zde objevilo uva\u017eov\u00e1n\u00ed o udr\u017eiteln\u00e9m chodu v r\u00e1mci um\u011bleck\u00e9ho provozu: \u201eP\u0159i posledn\u00edm projektu v INI jsme si uv\u011bdomily, \u017ee n\u00e1s zaj\u00edm\u00e1 princip rozd\u00e1v\u00e1n\u00ed um\u011bn\u00ed, kter\u00e9 vytvo\u0159\u00edme. L\u00edb\u00ed se n\u00e1m moment obdarov\u00e1n\u00ed, a t\u00edm i vznikaj\u00edc\u00ed nov\u00e1 cesta p\u0159\u00edstupu k um\u011bn\u00ed jak pro n\u00e1s um\u011blkyn\u011b, tak pro n\u00e1v\u0161t\u011bvn\u00edky.\u201c <\/p>\r\n T\u00e9matem recyklace v um\u011bleck\u00e9m provozu a udr\u017eitelnosti p\u0159i produkci d\u011bl a v\u00fdstav se v\u011bnovaly nap\u0159\u00edklad na v\u00fdstav\u011b Cheap Art <\/em>v Galerii AMU v roce 2018, kter\u00e1 byla pro um\u011blkyn\u011b zlomem v dal\u0161\u00edm sm\u011b\u0159ov\u00e1n\u00ed. Pou\u017eily na n\u00ed pouze recyklovan\u00e9 materi\u00e1ly (second-handov\u00e9 textiln\u00ed l\u00e1tky, star\u00e9 krabice) a n\u00e1v\u0161t\u011bvn\u00edci si energii na osv\u011btlen\u00ed galerie museli vy\u0161lapat na rotopedu. Barbora Fastrov\u00e1 k tomu ve sv\u00e9m portfoliu uv\u00e1d\u00ed: \u201eZ\u00e1rove\u0148 to byl koment\u00e1\u0159 k situaci na v\u00fdtvarn\u00e9 sc\u00e9n\u011b, kde se do t\u00e9 doby environmentalismus \u0159e\u0161il hlavn\u011b jako t\u00e9ma a m\u00e9n\u011b jako forma. Bylo pro n\u00e1s d\u016fle\u017eit\u00e9 p\u0159edv\u00e9st radik\u00e1ln\u00ed p\u0159\u00edstup a vyzkou\u0161et si, jak\u00e9 vizu\u00e1ln\u00ed kompromisy to s sebou nese.\u201c<\/p>\r\n Recyklovan\u00fd textiln\u00ed materi\u00e1l pak um\u011blkyn\u011b vyu\u017e\u00edvaj\u00ed tak\u00e9 p\u0159i tvorb\u011b velkoform\u00e1tov\u00fdch textiln\u00edch obraz\u016f, kter\u00e9 jsou spl\u00e9t\u00e1ny z odst\u0159i\u017ek\u016f star\u00fdch l\u00e1tek. P\u0159\u00edkladem m\u016f\u017ee b\u00fdt d\u00edlo HADA, kter\u00e9 bylo v roce 2020 rozprost\u0159eno skoro p\u0159es celou st\u011bnu galerie Entrance na B\u0159evnov\u011b, nebo velkoform\u00e1tov\u00e1 tapiserie s n\u00e1zvem Prsa, d\u011bti, bytosti a smet\u00ed <\/em>(2022), kter\u00e1 byla sou\u010d\u00e1st\u00ed v\u00fdstavn\u00edho projektu N\u00e1rodn\u00ed galerie Kv\u011btinov\u00e1 unie <\/em>p\u0159edstaven\u00e9ho v Bruselu p\u0159i p\u0159\u00edle\u017eitosti \u010desk\u00e9ho p\u0159edsednictv\u00ed v Rad\u011b Evropsk\u00e9 unie. Stejn\u011b jako u HADY<\/em>, i zde se objevuje t\u00e9ma mate\u0159stv\u00ed, jak je patrn\u00e9 ji\u017e z n\u00e1zvu d\u00edla. V roce 2023 pak mate\u0159stv\u00ed v\u011bnovaly celou v\u00fdstavu s n\u00e1zvem Breeding <\/em>v \u010cepan Gallery v Trnav\u011b.<\/p>\r\n Barbora Fastrov\u00e1 a Johana Po\u0161ov\u00e1 se ve sv\u00e9 pr\u00e1ci \u010dasto vztahuj\u00ed k lidsk\u00e9mu, zv\u00ed\u0159ec\u00edmu nebo i mytologick\u00e9mu t\u011blu, kter\u00e9 lidsk\u00e9 a zv\u00ed\u0159ec\u00ed propojuje \u2013 p\u0159ipome\u0148me nap\u0159\u00edklad jejich V\u00fdstavu o kentaurech <\/em>(Temporary Parapet, Bratislava, 2018). Kentau\u0159i a kentaurky se pak objevili tak\u00e9 ve ve\u0159ejn\u00e9m prostoru na s\u00eddli\u0161ti Vlasta v Praze v r\u00e1mci Festivalu M3 v roce 2020, kdy zadn\u00ed (ko\u0148skou) \u010d\u00e1st t\u011bla dotvo\u0159ily u sochy Akrobatky<\/em> od Vendel\u00edna Zdr\u016fbeck\u00e9ho. Druhou sochu reprezentuj\u00edc\u00ed zadn\u00ed polovinu kentau\u0159\u00edho t\u011bla pak postavily zvl\u00e1\u0161\u0165, aby se p\u0159i p\u0159istoupen\u00ed k n\u00ed mohl kdokoliv na chv\u00edli st\u00e1t onou b\u00e1jnou bytost\u00ed. Propojen\u00ed lidsk\u00e9ho a had\u00edho t\u011bla se pak objevilo nejen ve zm\u00edn\u011bn\u00e9 tapiserii HADA, kde se jedn\u00e1 o bytost s lidsk\u00fdm trupem a hlavou, jej\u00ed\u017e kon\u010detiny jsou hadi, ale tak\u00e9 v betonov\u00e9 plastice HAD ve ve\u0159ejn\u00e9m prostoru v parku Portheimka (2018). Zde se \u010d\u00e1sti jednoho velk\u00e9ho had\u00edho t\u011bla vyno\u0159uj\u00ed ze zem\u011b a na jednom z oblouk\u016f had\u00edho h\u0159betu vyr\u016fst\u00e1 lidsk\u00e1 figura. Objekt op\u011bt nav\u00e1d\u00ed k interakci, m\u016f\u017ee slou\u017eit jako prol\u00e9za\u010dka pro d\u011bti nebo jako posezen\u00ed.<\/p>\r\n Pr\u00e1ce t\u00e9to um\u011bleck\u00e9 dvojice spad\u00e1 do sou\u010dasn\u00fdch sm\u011br\u016f, jako je ekologick\u00e9 um\u011bn\u00ed a ekofeminismus nebo kritika z\u00e1padn\u00ed civilizace a antropocentrismu, kter\u00e9 um\u011blkyn\u011b hrav\u011b a s vtipem v obsahu sv\u00fdch d\u011bl reflektuj\u00ed. Nav\u00edc tomu p\u0159izp\u016fsobily i zp\u016fsob, jak\u00fdm tvo\u0159\u00ed a jak\u00fdm na um\u011bleck\u00e9 sc\u00e9n\u011b p\u016fsob\u00ed \u2013 tedy zp\u016fsob, pro kter\u00fd je kl\u00ed\u010dovou charakteristikou pr\u00e1v\u011b udr\u017eitelnost. <\/p>","date":2023,"authors":[1890]},{"text":" Hovo\u0159it v kontextu sou\u010dasn\u00e9 tvorby Johany Po\u0161ov\u00e9 v\u00fdhradn\u011b o fotografick\u00e9m m\u00e9diu je p\u0159inejmen\u0161\u00edm zav\u00e1d\u011bj\u00edc\u00ed. Fotografie v\u017edy byla, je a jist\u011b bude ned\u00edlnou sou\u010d\u00e1st\u00ed jej\u00ed tvorby, je v\u0161ak ot\u00e1zkou v jak\u00e9 m\u00ed\u0159e, v jak\u00fd moment a zejm\u00e9na pak v jak\u00e9 roli.<\/p>\r\n\r\n I p\u0159esto, \u017ee ran\u00e9 pr\u00e1ce autorky vych\u00e1zej\u00ed ve sv\u00e9 podstat\u011b z klasick\u00e9 fotografie, ji\u017e b\u011bhem studi\u00ed na pra\u017esk\u00e9 V\u0160UP lze sledovat n\u00e1znaky o snahu m\u00e9dium p\u0159ekro\u010dit, nebo p\u0159esn\u011bji \u0159e\u010deno za pou\u017eit\u00ed metod, kter\u00e9 fotografie nab\u00edz\u00ed, z m\u00e9dia vykro\u010dit za c\u00edlem jak\u00e9si opravdov\u011bj\u0161\u00ed a hmatateln\u011bj\u0161\u00ed materializace p\u0159edstavovan\u00e9 \u2013 \u010dasto zna\u010dn\u011b abstrahovan\u00e9 reality. Je nutn\u00e9 zm\u00ednit, \u017ee se nejedn\u00e1 o pot\u0159ebu se v\u016f\u010di m\u00e9diu fotografie vymezovat, ale sp\u00ed\u0161e o akcentaci jeho hranic, zejm\u00e9na pak v dob\u011b, kdy se um\u011bl\u00e1 kompozice p\u0159ed fotoapar\u00e1tem d\u00edky internetu, soci\u00e1ln\u00edm s\u00edt\u00edm a digitalizaci komponovan\u00e9 \u2013 \u010dasto estetizovan\u00e9 reality, stala instrument\u00e1ln\u00edm prvkem ka\u017edodenn\u00edho \u017eivota.<\/p>\r\n\r\n Jako jeden z prvn\u00edch n\u00e1znak\u016f tohoto posunu v tvorb\u011b Po\u0161ov\u00e9 m\u016f\u017eeme vn\u00edmat pr\u00e1ci s fotogramem. Ten se v jej\u00ed tvorb\u011b objevuje v r\u016fzn\u00fdch variac\u00edch ji\u017e od roku 2009 a lze jej ch\u00e1pat jako po\u010d\u00e1tek hlub\u0161\u00ed konceptualizace jej\u00ed tvorby. Ani zde autorka neopou\u0161t\u00ed principy kompozice, ty se v\u0161ak m\u00edsto p\u0159ed fotoapar\u00e1tem odehr\u00e1vaj\u00ed v \u010dern\u00e9 komo\u0159e. Zde autorka rozehr\u00e1v\u00e1 hru osv\u011bcov\u00e1n\u00ed a vrstven\u00ed zvolen\u00fdch p\u0159edm\u011bt\u016f, utv\u00e1\u0159ej\u00edc komplexn\u00ed obrazce hmotn\u00fdch celk\u016f. Jako p\u0159\u00edklad m\u016f\u017eeme uv\u00e9st s\u00e9rii fotogram\u016f z v\u00fdstavy Bl\u00ed\u017eenci (2009<\/em>), kde se Johana Po\u0161ov\u00e1 zcela vzd\u00e1v\u00e1 zobraziv\u00e9ho potenci\u00e1lu fotografick\u00e9ho m\u00e9dia a sv\u016fj z\u00e1jem soust\u0159ed\u00ed na hmotnou str\u00e1nku a objem zvolen\u00e9 masy p\u0159edm\u011bt\u016f, kter\u00e9 sp\u00ed\u0161e ne\u017e jako jednotliv\u00e9 p\u0159edm\u011bty, p\u0159edstavuje jako komplexn\u00ed celek - osobn\u00ed vesm\u00edr je\u017e poj\u00ed v\u0161echny p\u0159edm\u011bty dohromady. Jde o formu v\u00fdzvy - zachytit nezachytiteln\u00e9, pojmout v obraze osobn\u00ed sv\u011bt jedince, jeho\u017e komplexnost a objem lze jen t\u011b\u017eko zachytit jedn\u00edm otiskem na jedin\u00e9m fotografick\u00e9m pap\u00ed\u0159e.<\/p>\r\n\r\n Pot\u0159eba pot\u00fdkat se s re\u00e1lnou hmotou, re\u00e1ln\u00fdmi p\u0159edm\u011bty a jejich materi\u00e1ln\u00ed str\u00e1nkou je pro tvorbu Po\u0161ov\u00e9 charakteristick\u00e1 a odr\u00e1\u017e\u00ed se i v jej\u00ed pozd\u011bj\u0161\u00ed prac\u00edch. Zvolen\u00e9 p\u0159edm\u011bty nab\u00fdvaj\u00ed na sv\u00e9 hmotn\u00e9 str\u00e1nce a kompozice akcentuj\u00ed detail. Osv\u011bcovan\u00e9 p\u0159edm\u011bty, fragmenty, pr\u016fhledy a obrazce jsou komponov\u00e1ny do kol\u00e1\u017eovit\u00fdch celk\u016f, vytv\u00e1\u0159ej\u00edc jakousi podivnou formu snov\u00e9 reality - vzd\u00e1len\u00e9 krajiny, kter\u00e1 je n\u00e1m svou podstatou v mnoha ohledech velice bl\u00edzk\u00e1 a snad proto n\u00e1s uv\u00e1d\u00ed do rozpak\u016f (Krajina beze jm\u00e9na, 2012, K\u00e1men n\u016f\u017eky pap\u00edr, 2013<\/em>).<\/p>\r\n\r\n I p\u0159esto, \u017ee se v sou\u010dasn\u00e9 tvorb\u011b Po\u0161ov\u00e1 t\u00e9m\u011b\u0159 rozlou\u010dila s figurou, je\u017e byla p\u0159\u00edzna\u010dn\u00e1 zejm\u00e9na pro jej\u00ed pr\u00e1ce z let 2007 \u2013 2011, n\u011bkter\u00e9 z princip\u016f, kter\u00e9 ve figurativn\u00ed fotografii autorka vyu\u017e\u00edvala, nal\u00e9z\u00e1me v jej\u00ed tvorb\u011b i dnes. Jedn\u00e1 se zejm\u00e9na o formu z\u00e1pasu, podivnost, vych\u00fdlen\u00ed z reality, ale tak\u00e9 o magi\u010dnost. S tou jsme v jedn\u00e9 z \u0159ady jej\u00edch podob konfrontov\u00e1ni i ve v\u00fdstav\u011b P\u0159iznan\u00e1 barva, 2013.<\/em> V\u00fdstavu lze \u010d\u00edst ve dvou rovin\u00e1ch, tou prvn\u00ed je bezesporu ot\u00e1zka spojen\u00e1 se zpochybn\u011bn\u00edm autenticity fotografick\u00e9ho m\u00e9dia a jeho pravdivosti, kter\u00e9 v\u00fdstava bezesporu odr\u00e1\u017e\u00ed. Tou druhou, a v kontextu tvorby Johany Po\u0161ov\u00e9 si trouf\u00e1m \u0159\u00edci, \u017ee tou d\u016fle\u017eit\u011bj\u0161\u00ed, je princip podivnosti a magi\u010dnosti obecn\u011b, kdy kouzlo nebo trik funguje jako p\u0159irozen\u00fd naru\u0161itel racion\u00e1ln\u00edho ch\u00e1p\u00e1n\u00ed reality, otev\u00edraj\u00edc prostor do osobn\u00edho vesm\u00edru jedince, kdy jen on s\u00e1m determinuje m\u00edru pravdivosti, hmatatelnosti a uchopitelnosti t\u00e9to reality.<\/p>\r\n\r\n Na podobn\u00e9m principu inscenace podivn\u011b snov\u00e9ho je vystav\u011bna i spolupr\u00e1ce s Barborou Fastrovou, konkr\u00e9tn\u011b pak spole\u010dn\u00fd projekt Netla\u010d \u0159eku, te\u010de sama, 2014<\/em>. Spolupr\u00e1ce s Fastrovou posouv\u00e1 jazyk Po\u0161ov\u00e9 na dal\u0161\u00ed rovinu. Ji\u017e se nejedn\u00e1 o inscenaci osobn\u00edho vesm\u00edru, ale o paraleln\u00ed realitu, kde se v instalaci - podobn\u011b jako v p\u0159\u00edpad\u011b fotogram\u016f \u2013 propojuj\u00ed jej\u00ed \u010d\u00e1sti na b\u00e1zi voln\u00fdch asociac\u00ed, maj\u00edc v tomto p\u0159\u00edpad\u011b podobu bizarn\u011b absurdn\u00edho p\u0159\u00edb\u011bhu - poh\u00e1dky pro dosp\u011bl\u00e9, p\u0159\u00edb\u011bhu o hadovi, font\u00e1n\u011b se \u0161od\u00f3, buchti\u010dk\u00e1ch a robotick\u00e9m vysava\u010di. Podobn\u011b jako v p\u0159\u00edpad\u011b ji\u017e zmi\u0148ovan\u00e9 Krajiny beze jm\u00e9na<\/em> \u010di v\u00fdstavy K\u00e1men n\u016f\u017eky pap\u00edr<\/em>, i zde lze hovo\u0159it o jak\u00e9msi setk\u00e1n\u00ed bl\u00edzk\u00e9ho druhu, kter\u00e9 je ve skute\u010dnosti svou zmate\u010dnost\u00ed a absurdnost\u00ed v mnoha ohledech odrazem dnes podobn\u011b zmate\u010dn\u00e9 reality.<\/p>\r\n\r\n Zat\u00edm posledn\u00ed z projekt\u016f Johany Po\u0161ov\u00e9 je instalace Wet Wet Sunset (2014)<\/em>. Podobn\u011b jako v p\u0159edchoz\u00edch projektech, i zde je fotogram jedn\u00edm z prvk\u016f instalace, jedn\u00e1 se v\u0161ak o pouze o jeho \u010d\u00e1st. Z\u00e1jem o materi\u00e1ln\u00ed str\u00e1nku je zde zd\u016frazn\u011bn zejm\u00e9na prac\u00ed s materi\u00e1lem mimo fotografick\u00e9 m\u00e9dium. Ru\u010dn\u011b tkan\u00e9 textilie a rukod\u011blnost s nimi souvisej\u00edc\u00ed odr\u00e1\u017e\u00ed nejen fascinaci materi\u00e1lem, ale sou\u010dasn\u011b principy, kter\u00e9 autorka vyu\u017e\u00edv\u00e1 v \u010dern\u00e9 komo\u0159e, poukazuj\u00edc tak na dialektick\u00fd vztah mezi d\u00edly je\u017e vyu\u017e\u00edvaj\u00ed fotografick\u00fdch princip\u016f a d\u00edly je\u017e princip pom\u00e1haj\u00ed formovat. Jedn\u00e1 se o podivn\u011b abstraktn\u00ed sv\u011bt, materi\u00e1l\u016f, p\u0159edm\u011bt\u016f, fragment\u016f, hmoty a plochy. Ji\u017e d\u00e1vno nejde o reprezentaci, ale sp\u00ed\u0161e o snahu obr\u00e1tit v\u0161e naruby a odhalit \u0161vy, kde je zmate\u010dnost prol\u00ednaj\u00edc\u00edch nit\u00ed vlastn\u011b t\u00edm nejp\u0159esn\u011bj\u0161\u00edm zhmotn\u011bn\u00edm toho jak se v\u011bci maj\u00ed.<\/p>","date":2015,"authors":[1884]}],"artworks":[120844,120845,120846,120847,120848,120849,120850,120851,120852,120853,120854,120855,120856,120857,120858,120859,120860,120861,120862,120863,120864,120865,120866,120867,120868,120869,120870,120871,120872,120873,120874,120875,120876,120877],"videos":null},"yoast_head":"\n