![](\"https:\/\/www.europesays.com\/cz\/wp-content\/uploads\/2026\/04\/william-kentridge.jpeg\")
Foto: Profimedia.cz<\/p>\nP\u016fvodn\u011b cht\u011bl b\u00fdt filmov\u00fdm hercem. \u201eNa \u0161kole jsem ale zjistil, \u017ee jsem v\u00a0tom fakt \u0161patn\u00fd. Bylo to pro m\u011b obrovsk\u00e9 zklam\u00e1n\u00ed. Psal jsem tak\u00e9 sc\u00e9n\u00e1\u0159e, jen\u017ee i\u00a0ty byly \u0161patn\u00e9, nikdo je necht\u011bl to\u010dit. Za\u010dal jsem tedy malovat obrazy, klasicky olejem na pl\u00e1tno. Ale ani v\u00a0tom jsem nebyl dobr\u00fd. Stra\u0161n\u011b se mi pak ulevilo, kdy\u017e jsem se vr\u00e1til ke kresb\u011b uhlem,\u201c rekapituluje William Kentridge v\u00a0podkrov\u00ed pra\u017esk\u00e9 Kunsthalle.<\/p>\n
Slovo chyba nebo selh\u00e1n\u00ed zmi\u0148uje sedmdes\u00e1tilet\u00fd rod\u00e1k z\u00a0hlavn\u00edho m\u011bsta Jihoafrick\u00e9 republiky Johannesburgu v\u00a0rozhovorech \u010dasto. Jen\u017ee v\u00a0jeho p\u0159\u00edpad\u011b se ne\u00fasp\u011bch prom\u011bnil v\u00a0happy end: V\u0161echno to, co v\u00a0\u017eivot\u011b miloval a\u00a0tou\u017eil d\u011blat, od herectv\u00ed p\u0159es psan\u00ed sc\u00e9n\u00e1\u0159\u016f a\u017e po animaci, malbu \u010di kresbu, nakonec dok\u00e1zal propojit do jednoho velk\u00e9ho bal\u00edku. Sv\u00e1 d\u00edla u\u017e p\u0159edstavil v\u00a0newyorsk\u00e9m Metropolitn\u00edm muzeu um\u011bn\u00ed, pa\u0159\u00ed\u017esk\u00e9m Jeu de Paume nebo lond\u00fdnsk\u00e9 Kr\u00e1lovsk\u00e9 akademii um\u011bn\u00ed. <\/p>\n
Nyn\u00ed poprv\u00e9 zav\u00edtal do \u010ceska. V\u00fdstavu nazvanou The Battle Between Yes and No vymyslel s\u00a0kur\u00e1torkou Christelle Havranek jako ob\u0159\u00ed tepaj\u00edc\u00ed kol\u00e1\u017e a\u00a0proch\u00e1zku studiem. V\u00a0n\u011bm um\u011blec podle sv\u00fdch slov tr\u00e1v\u00ed ve\u0161ker\u00fd \u010das, kter\u00fd nemus\u00ed tr\u00e1vit jinde. P\u0159ehl\u00eddka v\u00a0Kunsthalle potrv\u00e1 do 7.\u00a0z\u00e1\u0159\u00ed.<\/p>\n
Ten \u00fatlak dob\u0159e zn\u00e1me<\/p>\n
D\u011bde\u010dek Williama Kentridge byl litevsk\u00fd pr\u00e1vn\u00edk a\u00a0politik \u017eidovsk\u00e9ho p\u016fvodu, kter\u00fd p\u0159ed carsk\u00fdm terorem utekl se svou \u017eenou do Jihoafrick\u00e9 republiky. Tam pak oba um\u011blcovi rodi\u010de p\u016fsobili tak\u00e9 jako respektovan\u00ed pr\u00e1vn\u00edci. Otec dokonce na p\u0159elomu 50.\u00a0a\u00a060.\u00a0let minul\u00e9ho stolet\u00ed \u00fasp\u011b\u0161n\u011b h\u00e1jil bojovn\u00edka proti apartheidu a\u00a0pozd\u011bj\u0161\u00edho prezidenta Nelsona Mandelu.<\/p>\n
William Kentridge se je\u0161t\u011b p\u0159ed studiem um\u011bn\u00ed pustil do politologie a\u00a0africk\u00fdch studi\u00ed. Kdyby tehdy z\u00edskal stipendium na lond\u00fdnskou univerzitu, mohl se st\u00e1t v\u011bdcem.<\/p>\n
Foto: Profimedia.cz<\/p>\n
\u201eV boji proti apartheidu se anga\u017eovalo hodn\u011b \u017did\u016f, proto\u017ee dob\u0159e znali ten \u00fatlak,\u201c vysv\u011btluje Kentridge v\u00a0rozhovoru pro Seznam Zpr\u00e1vy. Vn\u00edmal to u\u017e jako mal\u00fd kluk. \u201ePro velkou v\u011bt\u0161inu d\u011bt\u00ed z\u00a0m\u00e9 k\u0159es\u0165ansk\u00e9 t\u0159\u00eddy johannesbursk\u00e9 \u0161koly nebylo utla\u010dov\u00e1n\u00ed \u010derno\u0161sk\u00fdch spoluob\u010dan\u016f t\u00e9ma. Vn\u00edmali to bohu\u017eel jako samoz\u0159ejmost. Jen\u017ee v\u00a0m\u00e9 rodin\u011b jsme to v\u017edycky ch\u00e1pali jako n\u011bco \u0161patn\u00e9ho, nemor\u00e1ln\u00edho a\u00a0ne\u010destn\u00e9ho. Tenhle postoj se do m\u011b i\u00a0do m\u00e9 tvorby zcela jist\u011b propsal,\u201c dod\u00e1v\u00e1 na konto sv\u00fdch prac\u00ed reflektuj\u00edc\u00edch kolektivn\u00ed i\u00a0subjektivn\u00ed pam\u011b\u0165, autorit\u00e1\u0159sk\u00e9 re\u017eimy \u010di absurditu \u017eivotn\u00edch zvrat\u016f.<\/p>\n
Hned prvn\u00ed instalace v\u00a0Kunsthalle nazvan\u00e1 Velik\u00e9 ano, Velik\u00e9 ne, zachycuj\u00edc\u00ed vznik stejnojmenn\u00e9 autorovy opery, je inspirovan\u00e1 p\u0159\u00edb\u011bhem z\u00a0roku 1941.\u00a0Skupina intelektu\u00e1l\u016f a\u00a0um\u011blc\u016f tehdy prchala z\u00a0vichistick\u00e9 Francie lod\u00ed ke karibsk\u00e9mu ostrovu Martinik. Mezi pasa\u017e\u00e9ry byl nap\u0159\u00edklad antropolog Claude L\u00e9vi-Strauss, surrealistick\u00fd b\u00e1sn\u00edk Andr\u00e9 Breton nebo kub\u00e1nsk\u00fd mal\u00ed\u0159 Wifredo Lam.<\/p>\n
Kentridge do p\u0159\u00edb\u011bhu p\u0159id\u00e1v\u00e1 dal\u0161\u00ed postavy v\u010detn\u011b osobnost\u00ed spojen\u00fdch s\u00a0antikolonialistick\u00fdm hnut\u00edm N\u00e9gritude. \u201eTahle nejist\u00e1 pou\u0165 pln\u00e1 \u00fazkosti i\u00a0nad\u011bje je nejen ozv\u011bnou nucen\u00fdch plaveb z\u00a0Afriky do Karibiku, ke kter\u00fdm doch\u00e1zelo v\u00a0d\u00e1vn\u00e9 minulosti, ale i\u00a0ned\u00e1vn\u011bj\u0161\u00edch migrac\u00ed p\u0159es mo\u0159e,\u201c vysv\u011btluje kur\u00e1torka Christelle Havranek.<\/p>\n
Velik\u00e9 ano, Velik\u00e9 ne kombinuje malby, kresby, sochy, kol\u00e1\u017ee, videa a\u00a0hudebn\u00ed stopu se surrealistick\u00fdm humorem. Sou\u010d\u00e1st\u00ed projektu je i\u00a0ob\u0159\u00ed t\u0159\u00edkan\u00e1lov\u00e1 videoinstalace nazvan\u00e1 P\u0159ekro\u010dit je\u0161t\u011b jedno mo\u0159e, do kter\u00e9 se div\u00e1k m\u016f\u017ee doslova usadit: Je toti\u017e situov\u00e1na do \u00fatrob ponorky.<\/p>\n
![](\"https:\/\/www.europesays.com\/cz\/wp-content\/uploads\/2026\/04\/1776793043_64_william-kentridge.jpeg\")
Foto: Vojt\u011bch Ve\u0161krna<\/p>\n
Pohled do instalace nazvan\u00e9 Velik\u00e9 ano, Velik\u00e9 ne. Zachycuje vznik Kentridgovy stejnojmenn\u00e9 opery.<\/p>\n
Cel\u00e9 p\u0159\u00edzem\u00ed Kunsthalle tak p\u016fsob\u00ed jako fantaskn\u00ed i\u00a0fantastick\u00fd, nikde nekon\u010d\u00edc\u00ed vhled do um\u011blcova multimedi\u00e1ln\u00edho uva\u017eov\u00e1n\u00ed. Na ope\u0159e Velik\u00e9 ano, Velik\u00e9 ne, je\u017e m\u011bla sv\u011btovou premi\u00e9ru roku 2024\u00a0ve francouzsk\u00e9m Aix-en-Provence, se pod\u00edleli tane\u010dn\u00edci, performe\u0159i a\u00a0hudebn\u00edci z\u00a0Centra pro ne tak dobr\u00e9 n\u00e1pady. Pod anglick\u00fdm n\u00e1zvem The Centre for the Less Good Idea ho Kentridge v\u00a0Johannesburgu zalo\u017eil p\u0159ed deseti lety v\u00a0reakci na nulovou podporu kulturn\u00edho d\u011bn\u00ed od m\u011bsta.<\/p>\n
\u201eRadnice sice kulturu nepodporuje, ale mo\u017en\u00e1 i\u00a0proto je tu tolik skv\u011bl\u00fdch performer\u016f, tane\u010dn\u00edk\u016f a\u00a0hudebn\u00edk\u016f,\u201c vysv\u011btluje. Instituce funguje na b\u00e1zi kur\u00e1torovan\u00fdch aktivit, dost prostoru nab\u00edz\u00ed i\u00a0pro slep\u00e9 uli\u010dky a\u00a0chyby. B\u011bhem deseti let se v\u00a0n\u00ed vyst\u0159\u00eddalo p\u0159es 2000\u00a0um\u011blc\u016f a\u00a0um\u011blky\u0148.<\/p>\n
Tuhle k\u00e1vu nepiju<\/p>\n
P\u0159i p\u0159\u00edprav\u00e1ch pra\u017esk\u00e9 v\u00fdstavy Christelle Havranek s\u00a0Williamem Kentridgem p\u0159em\u00fd\u0161leli, jak pot\u011b\u0161it dom\u00e1c\u00ed publikum. Krom\u011b Milana Kundery, Jana \u0160vankmajera, Ji\u0159\u00edho Trnky a\u00a0dobr\u00e9ho voj\u00e1ka \u0160vejka jihoafrick\u00e9ho um\u011blce inspiroval Franz Kafka a\u00a0p\u0159ed zah\u00e1jen\u00edm v\u00fdstavy p\u0159i\u0161el i\u00a0s jedn\u00edm praktick\u00fdm vhledem. \u201eMysl\u00edm, \u017ee kdy\u017e zkombinujete Kafku se \u0160vejkem, m\u00e1te slu\u0161n\u00fd z\u00e1klad pro pochopen\u00ed sv\u011bta,\u201c tvrd\u00ed.<\/p>\n
Svou fascinaci kafkovsk\u00fdm absurdnem obtiskl do instalace Dopis pro Felice. V\u00a0prost\u0159ed\u00ed dior\u00e1matu, kter\u00e9 p\u0159ipomene ned\u00e1vnou v\u00fdstavu spisovatele Orhana Pamuka v\u00a0pra\u017esk\u00e9m DOX, rozehr\u00e1v\u00e1 drama o\u00a0\u0161esti d\u011bjstv\u00edch. Kentridge tu pracuje s\u00a0n\u00e1hodn\u011b vybran\u00fdmi \u0159\u00e1dky z\u00a0Kafkov\u00fdch den\u00edk\u016f, pov\u00eddek i\u00a0dopis\u016f (v\u010detn\u011b t\u011bch pro snoubenku Felice), s\u00a0autorov\u00fdmi ritu\u00e1ly (v\u010detn\u011b fyzick\u00e9ho cvi\u010den\u00ed) i\u00a0historick\u00fdm kontextem v\u00a0podob\u011b archivn\u00edch projekc\u00ed \u010di hudby Leo\u0161e Jan\u00e1\u010dka. Je tu i\u00a0s\u00e1m jihoafrick\u00fd um\u011blec: Vystupuje v\u00a0Kafkov\u011b masce.<\/p>\n
William Kentridge<\/p>\n
Narodil se roku 1955\u00a0v\u00a0Johannesburgu v\u00a0Jihoafrick\u00e9 republice.<\/p>\n
Prarodi\u010de byli n\u011bme\u010dt\u00ed, pol\u0161t\u00ed a\u00a0litev\u0161t\u00ed \u017did\u00e9, do JAR ode\u0161li kv\u016fli pron\u00e1sledov\u00e1n\u00ed. Rodi\u010de p\u016fsobili jako pr\u00e1vn\u00edci, otec Williama Kentridge obhajoval bojovn\u00edka proti apartheidu a\u00a0pozd\u011bj\u0161\u00edho prezidenta Nelsona Mandelu.<\/p>\n
Syn vystudoval politologii, africk\u00e1 studia, v\u00fdtvarn\u00e9 um\u011bn\u00ed, divadlo i\u00a0film. Um\u011bn\u00ed si nakonec vybral i\u00a0proto, aby nekop\u00edroval otcovu pr\u00e1vnickou kari\u00e9ru.<\/p>\n
Vystavoval v\u00a0New Yorku, Pa\u0159\u00ed\u017ei, Madridu \u010di Lond\u00fdn\u011b. Opakovan\u011b se \u00fa\u010dastnil n\u011bmeck\u00e9ho festivalu modern\u00edho um\u011bn\u00ed Documenta i\u00a0Ben\u00e1tsk\u00e9ho bien\u00e1le.<\/p>\n
V roce 2016\u00a0zalo\u017eil prostor pro experiment\u00e1ln\u00ed, svobodnou a\u00a0kolektivn\u00ed tvorbu The Centre for the Less Good Idea.<\/p>\n
\u201eSestrojit\u201c Dopis pro Felice bylo podle n\u011bj mimo\u0159\u00e1dn\u011b komplikovan\u00e9 a\u00a0nezvl\u00e1dl by to bez t\u00fdmu anim\u00e1tor\u016f. To jsou lid\u00e9, kte\u0159\u00ed od r\u00e1na do pozdn\u00edho odpoledne pracuj\u00ed ve studiu um\u00edst\u011bn\u00e9m v\u00a0zahradn\u00ed p\u0159\u00edstavb\u011b domu, kde v\u00fdtvarn\u00edk vyr\u016fstal. \u201eMoje studio je to nejlep\u0161\u00ed m\u00edsto pro p\u0159em\u00fd\u0161len\u00ed, psan\u00ed i\u00a0kreslen\u00ed. T\u0159\u00edd\u00edm si tu my\u0161lenky, strk\u00e1m je do \u0161upl\u00edku, a\u00a0a\u017e p\u0159ijde \u010das, vyt\u00e1hnu je ven,\u201c \u0159\u00edk\u00e1.<\/p>\n
Ve studiu m\u00e1 tak\u00e9 mnoho italsk\u00fdch moka konvi\u010dek, kter\u00e9 se na v\u00fdstav\u011b objevuj\u00ed nap\u0159\u00ed\u010d jednotliv\u00fdmi artefakty: Jednou je Kentridge pou\u017eije m\u00edsto hlavy, o\u00a0kus d\u00e1l jsou sou\u010d\u00e1st\u00ed uhlem namalovan\u00e9ho z\u00e1ti\u0161\u00ed. Po konvi\u010dce pojmenoval i\u00a0s\u00e9rii Autoportr\u00e9t jako konvi\u010dka na kafe, ji\u017e nato\u010dil b\u011bhem covidov\u00e9ho obdob\u00ed. Mohlo by se tak zd\u00e1t, \u017ee bude konzumac\u00ed t\u00e9to k\u00e1vy vyhl\u00e1\u0161en\u00fd. Opak je ale pravdou. \u201eTohle kafe je na m\u011b hrozn\u011b ho\u0159k\u00e9. V\u0161echny konvi\u010dky, kter\u00e9 od kamar\u00e1d\u016f dostanu, kon\u010d\u00ed ve studiu a\u00a0bu\u010f do nich odkl\u00e1d\u00e1m \u0161t\u011btce, nebo je kresl\u00edm. Je to trochu za\u010darovan\u00fd kruh, proto\u017ee pak si v\u0161ichni mysl\u00ed, \u017ee k\u00e1vu z\u00a0nich miluju,\u201c vysv\u011btluje.<\/p>\n
Kdy\u017e se ko\u010dka m\u011bn\u00ed v\u00a0psac\u00ed stroj<\/p>\n
Krom\u011b konvi\u010dek na k\u00e1vu a\u00a0nejr\u016fzn\u011bj\u0161\u00edch filmov\u00fdch postup\u016f je z\u00e1kladn\u00edm stavebn\u00edm kamenem jeho tvorby kresba uhlem. Poprv\u00e9 si ji vyzkou\u0161el jako osmilet\u00fd. \u201eU\u010ditel se m\u011b zeptal, \u010d\u00edm chci kreslit, a\u00a0j\u00e1 \u0159ekl, \u017ee uhlem. Asi jsem ho u\u00a0n\u011bkoho vid\u011bl,\u201c p\u0159em\u00edt\u00e1. <\/p>\n
V dosp\u011blosti uhlu propadl zhruba jako t\u0159icetilet\u00fd, kdy se k\u00a0v\u00fdtvarn\u00e9mu um\u011bn\u00ed vracel po divadeln\u00ed pauze. Uhel si ho z\u00edskal svou variabilitou: linku lze jednodu\u0161e p\u0159ekreslit nebo rozmazat. \u201eKo\u010dka se m\u016f\u017ee prom\u011bnit v\u00a0psac\u00ed stroj, ten zase ve strom. Cel\u00e9 to odpov\u00edd\u00e1 m\u00e9mu vid\u011bn\u00ed sv\u011bta jako procesu, ne jako danosti,\u201c vysv\u011btluje.<\/p>\n
![](\"https:\/\/www.europesays.com\/cz\/wp-content\/uploads\/2026\/04\/1776793043_780_william-kentridge.jpeg\")
Foto: Kunsthalle Praha<\/p>\n
Pro Williama Kentridge je typick\u00e1 kresba uhlem. Na fotografii je uk\u00e1zka z\u00a0jeho s\u00e9rie Autoportr\u00e9t jako konvi\u010dka na kafe, nato\u010den\u00e9 b\u011bhem covidu.<\/p>\n
V Kunsthalle jeho uhlov\u011b prom\u011bnliv\u00fd sv\u011bt p\u0159ibli\u017euj\u00ed animovan\u00e9 filmy ze s\u00e9rie Kresby pro projekci. Poch\u00e1zej\u00ed z\u00a0let 1989\u00a0a\u017e 2020\u00a0a\u00a0prost\u0159ednictv\u00edm \u010d\u00e1ste\u010dn\u011b smy\u0161len\u00e9ho, \u010d\u00e1ste\u010dn\u011b autobiografick\u00e9ho p\u0159\u00edb\u011bhu evokuj\u00ed p\u0159echod Jihoafrick\u00e9 republiky od apartheidu k\u00a0demokracii. Reflektuj\u00ed tak\u00e9 konec 70.\u00a0let, kdy se William Kentridge na vysok\u00e9 \u0161kole politicky anga\u017eoval.<\/p>\n
P\u0159edlo\u0148sk\u00fd animovan\u00fd sn\u00edmek Prchav\u00e1 slova je oproti tomu introspektivn\u011bj\u0161\u00ed: Za\u010d\u00edn\u00e1 z\u00e1b\u011brem na um\u011blcovy ruce listuj\u00edc\u00ed jedn\u00edm z\u00a0mnoha jeho z\u00e1pisn\u00edk\u016f. Str\u00e1nky se prom\u011b\u0148uj\u00ed v\u00a0pohyblivou krajinu, kterou zapl\u0148uj\u00ed slova. Z\u00e1pisn\u00edky, ur\u010den\u00e9 pro nejr\u016fzn\u011bj\u0161\u00ed \u00fakoly, jsou pro autora z\u00e1sadn\u00edmi pracovn\u00edmi dokumenty. Zaznamen\u00e1v\u00e1 si do nich projekty, partitury, libreta, pl\u00e1ny, citace i\u00a0seznamy \u00fakol\u016f, kter\u00e9 pot\u0159ebuje v\u00a0ateli\u00e9ru ud\u011blat.<\/p>\n
Kentridgova schopnost uko\u010d\u00edrovat mno\u017estv\u00ed my\u0161lenkov\u00fdch zdroj\u016f a\u00a0um\u011bleck\u00fdch p\u0159\u00edstup\u016f k\u00a0jejich ztv\u00e1rn\u011bn\u00ed a\u00a0neztratit p\u0159i tom relevanci ohromuje. Sledovat roj jeho prvotn\u00edch n\u00e1pad\u016f v\u00a0uhlov\u011b rozmazan\u00e9 podob\u011b je ale snad je\u0161t\u011b poutav\u011bj\u0161\u00ed.<\/p>\n
V\u00fdstava: William Kentridge\u00a0\u2013 The Battle Between Yes and No<\/p>\n
Kunsthalle Praha, do 7.\u00a0z\u00e1\u0159\u00ed 2026.<\/p>\n","protected":false},"excerpt":{"rendered":"P\u016fvodn\u011b cht\u011bl b\u00fdt filmov\u00fdm hercem. \u201eNa \u0161kole jsem ale zjistil, \u017ee jsem v\u00a0tom fakt \u0161patn\u00fd. Bylo to pro…\n","protected":false},"author":2,"featured_media":62078,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[30],"tags":[9237,98,99,91,1450,20123],"class_list":{"0":"post-62077","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-praha","8":"tag-kunsthalle","9":"tag-prague","10":"tag-praha","11":"tag-vystavy","12":"tag-vytvarne-umeni","13":"tag-william-kentridge"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@cz\/116443915486114554","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/posts\/62077","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/comments?post=62077"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/posts\/62077\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/media\/62078"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/media?parent=62077"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/categories?post=62077"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/tags?post=62077"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}