"O roz\u0161\u00ED\u0159en\u00ED pole zkoum\u00E1n\u00ED d\u011Bjin um\u011Bn\u00ED sv\u011Bd\u010D\u00ED zm\u011Bna oponent\u016F, kter\u00E9 si zvolila Rosalind Kraussov\u00E1 v pr\u016Flomov\u00E9 stati 'A View of Modernism' z roku 1972 a v knize Under Blue Cup, kterou vydala v lo\u0148sk\u00E9m roce. Zat\u00EDmco v 70. letech t\u00EDmto protivn\u00EDkem nebyl nikdo jin\u00FD ne\u017E kritik Clement Greenberg, o 40 let pozd\u011Bji se j\u00EDm stala kur\u00E1torka p\u0159ehl\u00EDdky documenta X Catherine Davidov\u00E9. Skute\u010Dnost, \u017Ee si Kraussov\u00E1 k tomuto \u00FAtoku zvolila Davidovou, nen\u00ED nijak n\u00E1hodn\u00E1. Kur\u00E1torka toti\u017E v\u00FDstavu documenta X (1997) pojala jako kinematografickou sekvenci d\u011Bl, kter\u00E1 polemizuje s 'b\u00EDlou krychl\u00ED' tradi\u010Dn\u00EDho muzea a politikou identity, kter\u00E9 Kraussov\u00E1 ve sv\u00E9 posledn\u00ED knize obhajuje. V\u00FDznamn\u011Bj\u0161\u00ED je samotn\u00FD fakt, \u017Ee se v\u016Fbec poprv\u00E9 rozhodla vyhranit v\u016F\u010Di kur\u00E1torce, a ne jin\u00E9mu kritikovi \u010Di historikovi um\u011Bn\u00ED. Sv\u011Bd\u010D\u00ED to o prom\u011Bn\u011B v\u00FDtvarn\u00E9ho um\u011Bn\u00ED, na n\u00ED\u017E se sama Kraussov\u00E1 v 70. letech v\u00FDznamn\u011B pod\u00EDlela. S t\u00EDm, jak se um\u011Bleck\u00E9 d\u00EDlo roze\u0161lo se specifi\u010Dnost\u00ED sv\u00FDch v\u00FDrazov\u00FDch prost\u0159edk\u016F, a za\u010Dalo se otev\u00EDrat vn\u011Bj\u0161\u00EDm institucion\u00E1ln\u00EDm podm\u00EDnk\u00E1m, do\u0161lo k oslaben\u00ED v\u00FDznamu um\u011Bleck\u00E9ho d\u00EDla a naopak k pos\u00EDlen\u00ED instalace a v\u00FDstavy jako celku. I proto jsou d\u011Bjiny sou\u010Dasn\u00E9ho um\u011Bn\u00ED st\u00E1le \u010Dast\u011Bji poj\u00EDm\u00E1ny nikoli jako d\u011Bjiny styl\u016F \u010Di individu\u00E1ln\u00EDch d\u011Bl, n\u00FDbr\u017E jako d\u011Bjiny v\u00FDstav."@cs . "I" . "1"^^ . . . "For history of exhibitions. Retro-perspective, archive and migration of forms"@en . . "C\u00EDsa\u0159, Karel" . "Brno" . "Brno" . "Barrister & Principal" . "1"^^ . . . "For history of exhibitions. Retro-perspective, archive and migration of forms"@en . "117680" . . "8"^^ . "Za d\u011Bjiny v\u00FDstav. Retroperspektiva, archiv a migrace forem"@cs . . "Za d\u011Bjiny v\u00FDstav. Retroperspektiva, archiv a migrace forem" . "978-80-7485-023-3" . "In her 'View of Modernism,' the groundbreaking study from 1972, Rosalind Krauss takes on the work of the critic Clement Greenberg. Forty years later, Krauss' Under Blue Cup (2011) challenges Catherine David, the curator of documenta X. This change in Krauss's choice of opponents is not incidental and testifies to the widening of art-historical research. David approached the documenta X exhibition (1997) as a cinematographic sequence of artworks, questioning the 'white cube' of the traditional museum and the politics of identity, which Krauss's book defends. The fact that Krauss decided to test her views against a curator rather than a fellow critic or art historian is even more significant. It shows the transformation of art, a process which Krauss herself helped to bring about in the 1970s. As the artwork gave up on the specificity of its means of expression and started opening up to external conditions, the importance of individual artworks weakened in favour of the exhibition as a whole. This is one of the reasons why the history of contemporary art has increasingly become a history of exhibitions rather than a history of styles and individual artworks."@en . . "history; exhibitions; archive"@en . . "Za d\u011Bjiny v\u00FDstav. Retroperspektiva, archiv a migrace forem" . "RIV/67985955:_____/13:00437782!RIV15-AV0-67985955" . "O roz\u0161\u00ED\u0159en\u00ED pole zkoum\u00E1n\u00ED d\u011Bjin um\u011Bn\u00ED sv\u011Bd\u010D\u00ED zm\u011Bna oponent\u016F, kter\u00E9 si zvolila Rosalind Kraussov\u00E1 v pr\u016Flomov\u00E9 stati 'A View of Modernism' z roku 1972 a v knize Under Blue Cup, kterou vydala v lo\u0148sk\u00E9m roce. Zat\u00EDmco v 70. letech t\u00EDmto protivn\u00EDkem nebyl nikdo jin\u00FD ne\u017E kritik Clement Greenberg, o 40 let pozd\u011Bji se j\u00EDm stala kur\u00E1torka p\u0159ehl\u00EDdky documenta X Catherine Davidov\u00E9. Skute\u010Dnost, \u017Ee si Kraussov\u00E1 k tomuto \u00FAtoku zvolila Davidovou, nen\u00ED nijak n\u00E1hodn\u00E1. Kur\u00E1torka toti\u017E v\u00FDstavu documenta X (1997) pojala jako kinematografickou sekvenci d\u011Bl, kter\u00E1 polemizuje s 'b\u00EDlou krychl\u00ED' tradi\u010Dn\u00EDho muzea a politikou identity, kter\u00E9 Kraussov\u00E1 ve sv\u00E9 posledn\u00ED knize obhajuje. V\u00FDznamn\u011Bj\u0161\u00ED je samotn\u00FD fakt, \u017Ee se v\u016Fbec poprv\u00E9 rozhodla vyhranit v\u016F\u010Di kur\u00E1torce, a ne jin\u00E9mu kritikovi \u010Di historikovi um\u011Bn\u00ED. Sv\u011Bd\u010D\u00ED to o prom\u011Bn\u011B v\u00FDtvarn\u00E9ho um\u011Bn\u00ED, na n\u00ED\u017E se sama Kraussov\u00E1 v 70. letech v\u00FDznamn\u011B pod\u00EDlela. S t\u00EDm, jak se um\u011Bleck\u00E9 d\u00EDlo roze\u0161lo se specifi\u010Dnost\u00ED sv\u00FDch v\u00FDrazov\u00FDch prost\u0159edk\u016F, a za\u010Dalo se otev\u00EDrat vn\u011Bj\u0161\u00EDm institucion\u00E1ln\u00EDm podm\u00EDnk\u00E1m, do\u0161lo k oslaben\u00ED v\u00FDznamu um\u011Bleck\u00E9ho d\u00EDla a naopak k pos\u00EDlen\u00ED instalace a v\u00FDstavy jako celku. I proto jsou d\u011Bjiny sou\u010Dasn\u00E9ho um\u011Bn\u00ED st\u00E1le \u010Dast\u011Bji poj\u00EDm\u00E1ny nikoli jako d\u011Bjiny styl\u016F \u010Di individu\u00E1ln\u00EDch d\u011Bl, n\u00FDbr\u017E jako d\u011Bjiny v\u00FDstav." . . "RIV/67985955:_____/13:00437782" . "[E9375388BC65]" . . . "2012-09-13+02:00"^^ . . . "Um\u011Bn\u00ED a politika. Sborn\u00EDk 4. sjezdu historik\u016F um\u011Bn\u00ED, Brno, 13. - 14. z\u00E1\u0159\u00ED 2012" . "Za d\u011Bjiny v\u00FDstav. Retroperspektiva, archiv a migrace forem"@cs . .