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MASARYKOVA UNIVERZITA Bakalárska Diplomová Práca MASARYKOVA UNIVERZITA FILOZOFICKÁ FAKULTA Ústav hudební vědy Bakalárska diplomová práca 2017 Lucia Heiserová MASARYKOVA UNIVERZITA FILOZOFICKÁ FAKULTA Ústav hudební vědy Sdružená uměnovědná studia Lucia Heiserová ODEV AKO KĽÚČ K INTERPRETÁCII FRIDY KAHLO Bakalárska diplomová práca Vedúci práce: PhDr. Dagmar Koudelková 2017 Prehlasujem, že som diplomovú prácu vypracovala samostatne s využitím uvedených prameňov a literatúry. …………………………………………………………. Podpis autora práce Obsah Úvod. .................................................................................................................................... 1 1. Zdravotné problémy Fridy Kahlo. .................................................................................... 4 2. Exkurz do kultúrnych dejín Mexika. ................................................................................ 6 2.1. Postavenie Indiánov po dobytí mexického územia Španielmi. ..................................... 6 2.2. Orientácia Mexika v období vlády Porfiria Díaza......................................................... 7 2.3. Kultúrne a politické ovzdušie 20. rokov – porevolučná ideológia a programy. ........... 8 3. Postupné formovanie odevu Fridy Kahlo ....................................................................... 11 3.1. 20. roky 20. storočia. ................................................................................................... 11 3.2. 30. roky 20. storočia. ................................................................................................... 13 3.3. Tehuánsky kroj. ........................................................................................................... 14 3.4. Zvyšok garderóby. ....................................................................................................... 15 4. Význam tehuánskeho kroja. ........................................................................................... 17 5. Interpretácia vybraných obrazov. ................................................................................... 19 5.1. Autoportrét na hranici medzi Mexikom a USA. ......................................................... 19 5.2. Tam visia moje šaty. .................................................................................................... 20 5.3. Spomienka. .................................................................................................................. 21 5.4. Samovražda Dorothy Hale. ......................................................................................... 22 5.5. Dve Fridy. .................................................................................................................... 23 5.6. Autoportrét s ostrihanými vlasmi. ............................................................................... 23 6. Odozva, ktorú vyvolal odev Fridy Kahlo v 20. a 21. storočí. ........................................ 25 Záver. .................................................................................................................................. 27 Resumé. .............................................................................................................................. 29 Summary. ........................................................................................................................... 30 Obrazová príloha ................................................................................................................ 32 Úvod. Hlavnou inšpiráciou pre túto bakalársku diplomovú prácu sa stala výstava Las apariencias engañan: Los vestidos de Frida Kahlo1, ktorá bola otvorená v Múzeu Fridy Kahlo v Mexiku v roku 2012. Mohlo by sa zdať, že o Fride Kahlo (1907-1954) sa už nedá nič viac odhaliť, že jej život a dielo už boli dopodrobna preskúmané. Avšak v apríli v roku 2004 boli v Casa Azul, rodnom dome Fridy Kahlo, kde sa dnes nachádza jej múzeum, otvorené nové priestory, ktoré skrývali kunsthistorický poklad. Keď Frida Kahlo v roku 1954 zomrela, jej manžel Diego Rivera (1886-1957) začal do jednej z kúpeľní v Casa Azul, umiestňovať manželkine osobné veci. Na jeho želanie potom Dolores Olmedo (1908-2002), blízka priateľka a mecenáška manželského páru, ponechala kúpeľňu uzamknutú až do svojej smrti. V priestoroch sa nachádzalo okolo 300 Fridiných osobných predmetov: lieky, dokumenty, fotografie, ortopedické pomôcky, topánky, doplnky, šperky, a predovšetkým oblečenie. Viaceré z objavených šiat sú domorodého pôvodu, a mnohé z nich predstavujú dôkaz výnimočnej ručnej výroby a bohatosti textilu krajiny. Nesú tiež veľkú kultúrnu a historickú hodnotu, keďže niektoré z nich sa už dnes nevyrábajú, a boli teda považované za stratené. Vďaka týmto objavom vznikla prvá expozícia, ktorá sa nevenuje priamo dielam Fridy Kahlo, ale jej oblečeniu a celkovému spôsobu seba-prezentácie. Objavenie týchto predmetov otvorilo nové možnosti interpretácie tvorby a samotnej osobnosti Fridy Kahlo prostredníctvom jej garderóby. V práci bude čo najpodrobnejšie preštudovaný špecifický vzťah Fridy Kahlo k móde a priblížené budú dôvody, ktoré posilnili jej rozhodnutie nosiť v prvej polovici 20.storočia oblečenie a doplnky ľudového a domorodého pôvodu. Poukázané bude na fakt, že odev, štýl a spôsob seba-prezentácie, boli výsledkom výraznej snahy Fridy Kahlo o vytváranie vlastnej identity. Prvý impulz k tomu dali vážne zdravotné problémy, s ktorými celý život bojovala. Ďalším bolo politické zanietenie a intenzívny záujem o dejiny a kultúru svojej krajiny. Interpretovanie Fridy Kahlo prostredníctvom jej šiat je viac-menej nový prístup, ktorý umožňuje zahĺbiť sa do pestrých a komplikovaných mexických dejín. Priblíženie kultúrnej histórie Mexika a vyzdvihnutie bohatosti domorodej kultúry si vytyčujem za jeden 1 Zdanie klame: Garderóba Fridy Kahlo 1 z hlavných cieľov svojej práce. Dovodím si považovať tento aspekt môjho bádania za jeden z hlavných prínosov pre odbor Sdružená uměnovědná studia. V práci sa ďalej pokúsim prostredníctvom analýzy vybraných diel Fridy Kahlo poukázať na dôležitosť odevu a jeho symboliky aj v samotnej umeleckej tvorbe Fridy Kahlo. Frida Kahlo bola v tridsiatych rokoch miláčikom USA aj Paríža. V polovici štyridsiatych rokov však jej popularita za hranicami Mexika upadá. V sedemdesiatych rokoch sa znovu dostáva do centra pozornosti prostredníctvom feministického hnutia, vďaka ktorému vzrastá záujem o ženy umelkyne. Ďalšiu vlnu záujmu priniesla v roku 1982 výstava Frida Kahlo and Tina Modotti, ktorú usporiadali vo Whitechapel Art Gallery Laura Malvey a Peter Wollen. Definitívne sa však o dnešnú medzinárodnú popularitu Fridy Kahlo pričinila v roku 1983 kunsthistorička Hayden Herrera svojou podrobnou biografiou. Odvtedy sa Kahlo stala hlavnou témou dokumentov, filmov, divadelných hier, odborných, ale aj neodborných publikácií. Záujmu sa nevyhol samozrejme ani jej odev, a inšpiráciu z neho začali čerpať mnohí odevní dizajnér. Kniha od Hayden Herrera so sebou priniesla však aj nevýhody – upriamila totiž pozornosť hlavne na fyzickú a duševnú bolesť Fridy Kahlo a na jej búrlivý vzťah s manželom Diegom. Je pravda, že jej životný príbeh do istej miery umožňuje prístup k jej umeniu a vzhľadom na veľký počet autoportrétov, ktoré odhaľujú jej psychické a fyzické utrpenie, je pochopiteľné, že je k tvorbe Fridy Kahlo zväčša volený psychoanalytický prístup. Lenže kritici, ktorí sa príliš sústredia na životopis Fridy Kahlo, majú často krát sklon prehliadať jej politickú angažovanosť a zanietenie pre históriu a kultúru Mexika. Tézy, ktoré načrtla výstava Las apariencias engañan: Los vestidos de Frida Kahlo, iniciovali vo mne záujem o nájdenie iného interpretačného prístupu, ktorý by si všímal symboliku a významy, ktoré bývajú často krát prehliadané. Cieľom tejto práce samozrejme nebude negovať názor Hayden Herrera, že Frida Kahlo nosila domorodý odev prevažne z lásky k manželovi Diegovi, Mojou snahou bude upriamiť pozornosť na hlbší symbolický a nacionalistický význam jej odevu. Fakt, že Frida Kahlo patrí medzi tých umelcov, u ktorých je tvorba veľmi úzko spätá s ich osobným životom, značne sťažuje hľadanie relevantnej odbornej literatúry. K dispozícii je síce mnoho titulov aj v českých a slovenských knižniciach, väčšina z nich sú buď romány, alebo veľmi stručné biografie, ktoré obsahujú prevažne romantizované informácie zo života umelkyne. Z oficiálnej webovej stránky Múzea Fridy Kahlo som však mala k dispozícií informácie od samotnej kurátorky výstavy a riaditeľky múzea od ktorých som 2 sa odrazila pri hľadaní odbornejšej literatúry. Hlavnými zdrojmi s neskreslenými informáciami a širokým kultúrno-historickým kontextom sa napokon pre mňa stali už zmienená podrobná biografia Hayden Herrera a ďalšia veľmi príjemne napísaná biografia od Andrey Kattenmann. Najdôležitejšími zdrojmi v oblasti odevu sú tieto štyri články: Remembrance of an Open Wound: Frida Kahlo and Post-revolutionary Mexican Identity; “Her Dress Hangs Here“: De-Frocking the Kahlo Cult; Fashioning National Identity: Frida Kahlo in "Gringolandia" a Aztec Imagery in Frida Kahlo's Paintings: Indigenity and Political. V každom z nich sa odev stáva kľúčom k interpretácii diela a osobnosti Fridy Kahlo, no zároveň na túto problematiku každý z autorov nahliada z trochu inej perspektívy. 3 1. Zdravotné problémy Fridy Kahlo. Prvé fyzické problémy Fridy Kahlo nastali už v roku 1913, kedy ako šesťročná dostala detskú obrnu. Choroba si vynútila deväťmesačnú liečbu, počas ktorej Fridina pravá noha značne zaostala v raste. Po doliečení doktor odporučil rehabilitáciu formou terapeutických cvičení a fyzických aktivít, ktoré by
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