Václav Kopecký

• When you developed a film badly before the existence of photoshop,00:00:08.056
• 00:00:08.056
• you had to restore it, go one step backward.00:00:19.249
• 00:00:19.249
• There are different types of developers00:00:24.549
• 00:00:24.549
• and a corrective whitening bath. That's really good.00:00:31.503
• 00:00:31.503
• This is the last photolab I know and I'm sure there's nothing of this sort...00:00:50.438
• 00:00:50.438
• Mr FotoOto would develop photos directly from negatives here and00:01:00.971
• 00:01:00.971
• he avoided digital processing. He finished this year's summer.00:01:07.798
• 00:01:07.798
• I got here by accident, they asked me if I wanted to take the shop over.00:01:16.546
• 00:01:16.546
• I came here to realize the principle of such shop type.00:01:22.614
• 00:01:22.614
• I wanted to prove myself it wasn't possible to run it this way.00:01:30.043
• 00:01:30.043
• Analogue photo is principal because of the material.00:01:44.309
• 00:01:44.309
• Recently I've been thinking why I do it this way,00:01:48.993
• 00:01:48.993
• especially in the context of the technology which00:01:52.474
• 00:01:52.474
• is dying out slowly or at least the range00:01:55.845
• 00:01:55.845
• available on the market is decreasing...00:02:00.103
• 00:02:00.103
• I am quite reliant on companies producing the chemicals and paper.00:02:03.060
• 00:02:03.060
• I wondered whether I would get along00:02:09.725
• 00:02:09.725
• with digital version and work with digital photos.00:02:12.092
• 00:02:12.092
• I came to the conclusion it would all break down.00:02:19.006
• 00:02:19.006
• I wouldn't be able to do without a darkroom.00:02:25.088
• 00:02:25.088
• Or without the material itself.00:02:30.606
• 00:02:30.606
• I can't replace this stage with a computer programme00:02:32.808
• 00:02:32.808
• and a device that would print it...00:02:39.430
• 00:02:39.430
• I can't imagine adding the aura which is a result of me being a part of the process...00:02:46.890
• 00:02:46.890
• The clock works... It just looks it doesn't...00:03:05.602
• 00:03:05.602
• The sweep-second hand is important.00:03:09.337
• 00:03:09.337
• And when you start working in the dark,00:03:11.764
• 00:03:11.764
• the time works in a different way...00:03:14.930
• 00:03:14.930
• Even if the clock kept good time, it would only make you stressed,00:03:20.061
• 00:03:20.061
• but it couldn't be helped...00:03:25.929
• 00:03:25.929
• A photographer looks into the objective,00:03:34.219
• 00:03:34.219
• he picks a composition, squeezes the release and00:03:36.615
• 00:03:36.615
• creates a picture he can later materialize by developing00:03:39.866
• 00:03:39.866
• on a photographic paper. His priority is the picture.00:03:47.375
• 00:03:47.375
• Whereas my priority is developing the photo.00:03:51.980
• 00:03:51.980
• When I look into the viewfinder, I do not compose because00:03:56.911
• 00:03:56.911
• I compose during the stage of working with the material.00:04:06.037
• 00:04:06.037
• In essence, I take the photographic paper and expose it somehow.00:04:13.221
• 00:04:13.221
• I really enjoy my work. When I process somebody's order,00:04:25.752
• 00:04:25.752
• the photo doesn't emerge until I expose it.00:04:32.568
• 00:04:32.568
• Even when somebody wants me to blow up his photos from negatives00:04:40.489
• 00:04:40.489
• I appropriate the photos for the moment before I return them.00:04:44.446
• 00:04:44.446
• I consider them my own. And I don't even mind when00:04:49.732
• 00:04:49.732
• someone brings me a negative I didn't shoot.00:04:53.765
• 00:04:53.765
• What pictures do you have here at the moment?00:04:56.609
• 00:04:56.609
• I can't show you.00:04:59.880
• 00:04:59.880
• Why?00:05:02.456
• 00:05:02.456
• Because not everything can be appropriated.00:05:08.519
• 00:05:08.519
• When I'm blowing up photos, I often think about my work,00:05:17.535
• 00:05:17.535
• it's much closer to free work.00:05:21.038
• 00:05:21.038
• If I worked with clay, there are two ways of the process.00:05:41.796
• 00:05:41.796
• I could model something with the help of a mould or by hand.00:05:48.644
• 00:05:48.644
• When I work by hand I try to create something from material00:05:54.497
• 00:05:54.497
• so that it makes sense and emerges without any outer context.00:06:02.482
• 00:06:02.482
• I aimed for that in the coloured flags.00:06:09.792
• 00:06:09.792
• In principle it's just a bent paper lit by00:06:15.062
• 00:06:15.062
• a coloured light, it's a coloured paper...00:06:18.656
• 00:06:18.656
• Important is that it isn't any ordinary object00:06:48.096
• 00:06:48.096
• that would be just an object, there is also the photographic aspect,00:06:51.844
• 00:06:51.844
• the gradation of disappearing light00:06:56.682
• 00:06:56.682
• as it's lit just partly and not from the side.00:07:02.682
• 00:07:02.682
• One part is in a negative shadow,00:07:08.799
• 00:07:08.799
• so it was created just by the paper and shape.00:07:12.827
• 00:07:12.827
• I called my recent exhibition act "The Backward Wave",00:07:30.039
• 00:07:30.039
• it's an extensive series of river waves under a weir.00:07:36.244
• 00:07:36.244
• Its formal appearance should remind of a wave,00:07:54.143
• 00:07:54.143
• the end of the paper twists back and it should all signify work00:08:01.589
• 00:08:01.589
• looking back but at the same time rolling up and going on.00:08:08.300
• 00:08:08.300
• It doesn't stop or go back, there is this motion.00:08:16.257
• 00:08:16.257
• It's interesting to observe a backward wave under a weir for example,00:08:22.364
• 00:08:22.364
• similarly like looking into fire, it never stops, it keeps flowing and moving.00:08:35.268
• 00:08:35.268
• And its present, its "now" keeps changing and shifting all the time00:08:40.590
• 00:08:40.590
• and the only possibility how to follow up are sketches.00:08:45.193
• 00:08:45.193
• I guess the sketches should chronologically precede the work.00:08:49.771
• 00:08:49.771
• However I find more interesting to work on the sketches00:08:59.294
• 00:08:59.294
• already with the topic awareness and experience.00:09:02.603

Zde se můžete vyjádřit. (*nutné)