Jan Turner
Tento text je podpůrným textem k sérii autistických medailónů umělecké televize čok. Tentokrát o Janu Turnerovi. Pokusil jsem se aby byl můj text stejně bezcílný jako záměr autorů audiovizuálních materiálů. Nebude mít konec ani začátek a myšlenky v něm poskládám tak, abyste si to museli přečíst nejmíň třikrát a pak stejně zjistili, že jsem chtěl říct jen to co jsem řekl. Film je skvělý. Když jsem si ho pouštěl nahlas za zdí, tak za mnou ti pracující z druhé strany chodili s údivem, na co prý to koukám a co že to tam ten pán povídá. Když jsem si pouštěl cokoli jiného tak pracovali beze smyslu dál.
Jan Turner je členem sboru Maxisterstva kultury selhavšího státu na ose zla, melouchářem, hudebníkem, umělcem současnosti a kamarádí se se Slávou Sobotovičovou. Tahle informace je pro film velmi důležitá. Oba se totiž dohodli, že budou ve svých medailonech vystupovat tak, aby se divák domníval, že vlastně umění nerozumějí a museli si tak výmluvy o své tvorbě vymyslet na poslední chvíli. Snaží se vypadat jako nepraktická nemehla i ve vlastním hobby. Turner představuje svou baňkovou masážní praxi jako podlitinovou mučírnu a zahradnice Sobotovičová ryje záhon v zářivě bílé košili a značkových džínách poté, co ze svých plodin poznala na kameru jen ředkvičky. (Doporučuji shlédnout.) Je to hra ve které jsou dobří. Oba vědí co dělají a své opravdové záměry spolu tajně řeší po putykách.
Jan Turner jako jediný z českých konceptuálních umělců pochopil jak vytvářet díla současného umění. Je nutné je dělat hůř a nikoli se snažit vytvořit lepší dílo. Dílo musí být na první pohled odborníkovi i laikovi pro smích, ale tak aby z něj při odchodu z galerie mrazilo a začalo se vynořovat ve snech.
Pompa a náročnost už nefunguje. Fungovalo to nějakou dobu ale už to prostě nefunguje. Dnešní tvorba Irwinu, pozdní německá pozdmoderna, předsmrtný Nitsch a celá šňůra rudolfinských dekadencí, pokud máme zůstat doma, je dnes směšná, protože se nás snažila mrazit tuhnoucím bahnem rozkládajících se chrámových hloupostí.
A hlavně si uměním neničte život. Je spousta věcí, které musíte brát vážně a umění je tu pro radost a volnou chvíli. Musí těšit i autora. Zoufalý autor je především špatný autor. Jde jen o to, přesvědčit kurátora a galeristu, že ty věci, co jste našli na ulici nebo vzali svým dětem, do galerie skutečně patří. Pokud se to povede, je vyhráno, protože budou vždycky vypadat lépe než cokoli nad čím si Humhal lámal hlavu, David probíral měsíc se studenty, Kolíbal spotřeboval půl lesa a čtyři Díazovi asistenti leštili ve vakuu.
Vypadá to asi takhle:
JT: Mohli bysme tam dát třeba ještě todle
KG: To vypadá jako pytel na odpadky. A sou v tom naházený plastový kelímky.
JT: No
KG: A je to na odpadky? Mají do toho lidi házet odpadky?
JT: Ne. To nesměj.
KG: A co když do toho budou lidi házet kelímky od piva? Vypadá to úplně přesně jako pytel na odpadky ve kterým už jsou odpadky.
JT: No to se občas stává ale neměli by.
KG: No tak to musíme dát tak aby to tam neházeli. Na podstavec?
JT: Jo to je dobrej nápad. Velkej podstavec.
Srovnejme například náročnou Kotíkovu technicky náročnou a impozantní audioinstalaci Hail to the Chief sestavenou z tří zesilovačů a devíti reproduktorů „hornů“ Marshall a na ně třpytivě vyvedeným znakem amerického prezidenta s Turnerovým němým tyrkysovým noname combem, také vlastně zesilovačem, a na něm položenou špatně otesanou dřevěnou hroudou, lebkou původně zhotovenou pro děti na pirátské hraní. Inteligentně krásné vedle přihlouple ošklivého. A přece se vynaložená energie v Kotíkově instalaci nezúročila. Dnes je z ní jen ukázka dobrého politického aktivismu a Turnerova hromádka je prostě hezčí. Není to aktivismus. Je to umění.
Klacek kývající se mezi kmeny lesa je výzvou filmovým tvůrcům. Brzo se objeví v Twin Peaks a špinavých hororech odehrávajících se v přírodě. Ale i tak to není nic pro bohaté pány s keramickou kočkou na terase. V lese si s ním může kývat Dalík, šéf všech lubrikovaných lobbistů, nebo Badalec, vedoucí všech bezdomovců i lidí na suchu. Ale je to geniální. Přišel s tím Turner a nikdo mu to neodpáře. Keramický kočky jsou všude.
Jan Turner je, spolu s Alešem Havlíčkem, také autorem Hnědé knihy, která je zakázaná a i pod pultem se dá sehnat jen v hnědém igelitu, aby z ní hnus neprosakoval, takže často naletíte a je tam Saudek. Turnerova kamarádka Sobotovičová propaguje knihu slovenskými slovy: „Máločo môže byť debilnejšie než Hnědka, čož je výkon, ale samozrejme by to nestačilo. Dôležité je, že v záplave hnisu a zvratkov, keď už vzdáte odpor, tak sa dobre pobavíte a – mne napríklad pomáha proti šokom mierny záklon – možno z toho vytrieskate ešte trochu viac“. Úryvek pro odhalení přikládám, protože se to nedá sehnat „Halík si čte korán: „to sou samí kundoviny, to psal snad Upík s Jandákovim čurákem.“ povídá. najednou se mu zjeví aláh a řekne „ty nevěřící tomáši, čti si ve sví vyblitý bibli těch teplej apoštolů a na mího mohamedíka upíka se vyser, ty křižácká píčo“ a zmizí. to se stalo 11. září napsal si Tomík.
Našli tachecí, cikrt a muf boha. muf hned, že mu ukáže čuráka. cikrt se ho pokouší zastavit, ale už je pozdě. muf stojí před bohem v celý parádě a čurák mu trčí jako jedle. Ty malej prasáku, tak se mi to líbí, řiká bůh. A teď si hoň. A ty cikrte ukaž prdel, ať se do ní juknu. A já? ptá se tachecí? Ty ještě počkej ty kurvo, praví bůh-stvořitel.
Staví si cikrt raketu z hnoje a chce letět z vatykánu do afriky. Nejdřív musí ale uhodnout, kolik píč má pius druhý. Tipne si dvě. Správně řekne pius, leť si. Cikrt letí, letí, a potká v nebi halíkův nočník. Čau Cikrte, huláká nočník na celý nebe, a vyklopí mu čufty rovnou na měřič rychlosti. Teď letíš rychle jak hovno, směje se. Seš vtipnej jak nevimco, řiká Cikrt.
Cikrt stěhuje Bartošový skříň, ale přivřel si koule do dveří. jenže tam je zavřenej Artík a začne ho hulit. „to se nedivim jirko že ty skříně chceš. sou supr.“ řiká Cikrt Pomejemu kterej zrovna leze do další skříně a čeká, až jí začne Cikrt stěhovat.”
ale dá se to koupit, je tady http://www.divus.cc/cs/eshop/product/proza/1618/jan-turner-ales-havlicek-the-brown-book.html
Ivan Mečl
- I made it for an international project00:00:07.547
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- with the theme of Private Nationalism.00:00:11.580
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- I didn't know how to handle such theme,00:00:14.577
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- so I decided for an abstract way and00:00:21.479
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- came out with a private nationalistic vertical.00:00:24.007
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- It consists in a three metres long rod00:00:27.450
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- placed aslant to the floor.00:00:31.881
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- As an object it works that there's one chair00:00:36.026
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- from the vertical point of view and00:00:40.680
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- another chair from the aslant point of view.00:00:43.082
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- It offers a metaphor suggesting that00:00:46.768
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- nationalism is a segment of attitudes00:00:49.130
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- to society and its problems, a simplified reaction,00:00:52.862
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- but at the same time there are plenty other reactions00:01:04.368
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- that are much more rational.00:01:10.418
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- And the same goes for the rod which is vertical00:01:16.468
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- from one point of view and00:01:18.969
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- from the other one is not.00:01:21.004
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- Here in Divus the original intention00:01:27.042
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- was to shoot the rod and00:01:31.462
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- to make a fast pan with the camera from00:01:33.305
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- the aslaw point of view to the vertical one.00:01:36.170
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- I wanted a skinhead to have there or00:01:38.521
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- an average nationalist00:01:40.652
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- and use this fast pan to film him from the vertical view,00:01:42.892
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- to use him like a camera.00:01:50.047
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- But in the end we used somebody else,00:01:53.617
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- we had even a clapperboard,00:01:56.151
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- but nobody from the international plenum got it00:01:57.726
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- because it was quite illegible for them.00:02:00.848
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- Then in Košice there was00:02:05.462
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- a theme of private nationalism in a family.00:02:08.333
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- So I decided to use a dining table00:02:15.397
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- and to stick the rod in the table,00:02:18.352
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- so that two people saw it from one point00:02:21.768
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- and two from the other one,00:02:24.285
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- but this object didn't appeal to anyone at all.00:02:27.931
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- So I felt completely hopeless afterwards,00:02:38.089
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- I felt I couldn't make performances like that,00:02:41.460
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- so for the third part I decided to00:02:45.410
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- hide myself into the rod.00:02:48.925
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- So I got something to hide myself in.00:02:55.026
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- It was a kind of bollard with a remote control.00:03:01.672
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- I was hidden inside and walked among the viewers00:03:06.218
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- which worked quite well,00:03:10.923
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- so it was finally the coveted performance,00:03:13.281
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- for the third try...00:03:16.298
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- It's an all purpose module,00:03:17.835
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- which can work as a minimalist object...00:03:25.240
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- It also resembles many things,00:03:28.833
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- this narrowed point of view and00:03:35.696
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- the vertical may serve as a commentary.00:03:40.007
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- This video shows people wiping00:03:44.388
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- themselves with a toilet paper,00:03:47.163
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- everyone has his individual gesture adopted,00:03:49.663
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- the shortest and most effective way,00:03:59.732
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- these are masterly performances in fact.00:04:02.733
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- As everyone has been doing it for ages,00:04:07.393
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- every day or even many times a day.00:04:09.575
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- I was interested how the gestures differ.00:04:13.046
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- So I filmed few people doing it...00:04:17.468
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- And it differs...00:04:20.686
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- If some analytical criterions were set up,00:04:23.768
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- it could serve as an interesting psychological point of view.00:04:30.267
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- There is a metaphor how we handle our role/roll in life,00:04:34.867
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- but that's rather a nonsense...00:04:39.218
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- Interesting are the differences00:04:43.558
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- and that everyone has his own spontaneity,00:04:45.721
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- someone's distanced from the things down there,00:04:51.538
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- he wraps half his arm in the paper many times,00:04:54.990
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- someone saves the paper,00:05:01.690
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- he takes one piece and folds it, he uses it carefully...00:05:03.596
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- It's maping the gestures.00:05:12.011
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- It could be brushing teeth,00:05:16.847
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- but maping the gestures, using hands,00:05:19.584
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- people carry out quite perfect and effective gestures there.00:05:22.780
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- I don't know how many activities00:05:28.012
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- are carried out as often as this one...00:05:30.006
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- Coincidentally it's wiping bottom,00:05:35.221
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- of course it could be something else.00:05:38.210
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- It's about using the roll,00:05:41.571
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- which is like a sculpture,00:05:43.893
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- you take it, roll it,00:05:46.129
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- the paper makes some shape as00:05:51.006
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- it crimps and folds,00:05:54.313
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- the hands also create some shape,00:05:57.718
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- so it's an art activity in fact.00:06:00.249
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- It's faecal just by chance.00:06:07.502
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- But of course I like this theme,00:06:09.632
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- so it's not an accident in fact.00:06:12.264
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- But it didn't mean to make people...00:06:15.576
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- Well, it was intentional in fact...00:06:17.924
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- I wanted to make it a bit irritating.00:06:22.467
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- It's about back, bulbs and the principle is00:06:27.156
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- to promote the blood circulation.00:06:31.022
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- It makes bruises creating pictures00:06:33.621
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- but it also has a certain causality as00:06:35.783
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- everyone comes with a problem00:06:38.604
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- and has his own story to tell.00:06:41.192
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- Someone had an accident and the picture on his back00:06:44.064
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- is diferent from the one of somebody who found00:06:49.061
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- a girlfriend with kids and can't sleep and00:06:53.529
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- wants to get rid of sleeplessness.00:06:56.979
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- There are so many layers of information and00:07:00.110
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- there is no point in finding the rest,00:07:06.510
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- but there's always some story which comes out.00:07:09.726
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- I like the fact it can't be traced back but00:07:16.407
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- on the other hand there is always some history00:07:22.340
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- which disappears when it heals up.00:07:25.937
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- And I like it's not created primarily as an art project,00:07:31.525
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- it's brought about by a daily activity.00:07:37.653
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- That's what I like about it.00:07:41.945
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- The death itself...00:07:47.339
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- Well, you die and you are dead.00:07:49.585
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- There's no point in speculating about00:07:52.077
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- what's going to be after death.00:07:53.894
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- But I'm interested in being dead alive,00:07:57.461
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- when you block up and fail to be00:08:02.708
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- present in your life or be yourself.00:08:06.150
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- When you are under influence of somebody else's opinions.00:08:13.898
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- I found this issue very important.00:08:23.800
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- There is something written on the wall,00:08:27.210
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- then there are many gravestones,00:08:29.700
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- which are blank and prepared for all of us00:08:34.411
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- who will die the same one day.00:08:39.231
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- They are all identical,00:08:44.784
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- I tried to make them look nice00:08:46.305
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- but at the same time I wanted00:08:48.072
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- to point out the seriality,00:08:50.123
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- so they are made from Ytong.00:08:52.115
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- I made an installation00:08:54.617
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- which I didn't mean to be aesthetical,00:08:56.034
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- I just carried the stones in there...00:09:02.469
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- Then there was a metal robot00:09:06.247
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- made from air-conditioning system I found there,00:09:08.634
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- it meant to be a metaphor for a man00:09:12.584
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- carrying out robotically somebody else's aims00:09:15.818
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- and all the implanted mechanisms and ideas00:09:23.141
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- a common man is pushed by.00:09:27.264
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- In global criterion he works as a service force00:09:33.566
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- without having any time or strength to think about00:09:40.071
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- his existence in the world or the universe.00:09:43.938
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- A rook finds an urn, he thinks it's a blender00:10:44.000
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- and he says to another rook:00:10:48.878
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- "I found a blender but I can't open it."00:10:51.638
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- Then a stork comes and there's a little girl00:10:57.041
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- who can hear the rooks talking behind her00:11:00.523
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- and she thinks they are talking about the storks00:11:03.217
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- so she says: "it's not blenders but storks."00:11:06.828
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- and the storks come to the girl00:11:10.241
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- and they ask her: "What are you doing here, little girl?"00:11:12.596
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- and she answers: "Sh, I'm waiting for night storks".00:11:16.641
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- Then a big moth in a motor helmet flies in00:11:21.885
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- and asks: "Night storks?"00:11:28.214
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- and she says: "I said hush"00:11:31.835
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- and the night storks fly in, they're a bit darker,00:11:36.996
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- and they bring an urn on which is written00:11:41.238
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- "Mountain grass must remain flattened where a wild hare lied."00:11:43.588
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- The girl likes the urn and the storks lure00:11:49.844
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- the little girl to join them.00:11:56.622
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- And she says she would like to go00:12:03.290
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- but she can't because she is guarded by an educator.00:12:06.383
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- So the storks advise her to manipulate him.00:12:12.162
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- So she manipulates him telepathically.00:12:16.597
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- Then winter goes by and there are just the rooks.00:12:23.561
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- And then the little girl00:12:31.134
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- comes back and she has paws.00:12:33.103
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- The rooks notice she came back00:12:40.585
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- and that she has bear paws00:12:44.116
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- instead of her hands.00:12:47.265
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- One of the urns advises her to wet the paws00:12:50.672
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- and the rook wonders at such advice.00:12:56.529
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- So she wets them and nothing happens,00:12:59.803
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- they only turn blue.00:13:05.043
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- Then she finds a salmon00:13:09.060
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- with a pin stuck in00:13:11.868
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- and one of the urns says00:13:14.457
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- it was a stepmother who stuck it in.00:13:17.659
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- The stepmother is probably dead00:13:21.442
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- and she says from one of the urns: "It wasn't me."00:13:24.927
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- And that's the end of the story.00:13:30.965