On 6 April 2024, Karel Pokorný's socialist realist monument Sbratření (1951), depicting a Soviet soldier and Czech militiaman in fraternal embrace, was doused in red paint. The sculpture was removed from Vrchlického sady for restoration. During transport, it was scanned. Horizontal, bound, stripped of its pedestal, the monument became something else. A lying sculpture is a different sculpture. The verticality that gave it authority, the elevation that organised the viewing body below it, was gone. What remained was mass, surface, and the residue of an ideology that had already outlived its own collapse.

The work enters at this moment of vulnerability. Photogrammetric scanning produces a point cloud from the damaged bronze, a distributed numerical description of a surface that was never meant to be touched this closely. The scan is then subjected to a strict photographic logic within a 3D studio environment: lighting, framing, the construction of a picture plane. Bronze becomes point cloud becomes photograph.

Reproduction is an inherently political medium. Every copy is also a decision about what survives, what circulates, and in what form. The photograph of Sbratření produced here is not documentation. It is a new image made from the data of an interrupted object, at a moment when the monument was neither standing nor destroyed... suspended between one condition and another. The work examines what photography does to objects that history has already handled: how the camera arrives after the fact, registers the interruption, and holds it open.

Hynek Alt continues his research into the technical image, not as a record of reality, but as an unstable interface between digital circulation, the archiving of memory, logistical infrastructure, and the vulnerability of the material world.

While Tomáš Roubal examines the human as a physically and psychologically exhausted subject of platform ecosystems, Hynek Alt traces how a similarly inflicted wound inscribes itself into the images themselves into individual, shared, and virtual memory, into objects of desire, and into the terrain of logistical structures.

Pavel Kubesa, Substance P, Galerie Stanice 6, Prague, 2026