Moving Image Department 10: Based on Real Events
Moving Image Department 10: Based on Real Events
Moving Image Department 10: Based on Real Events
Moving Image Department 10: Based on Real Events
Moving Image Department 10: Based on Real Events
Moving Image Department 10: Based on Real Events
Moving Image Department 10: Based on Real Events

Moving Image Department 10: Based on Real Events

With Adela Babanová in two acts: Neptune and I've Been Thirty for Sixty Years

featuring Adam Curtis, The Living Dead

with a prelude and finale by Jan Šerych

and an interval by Daniel Pitin

As our deviated reality ceased being based upon real facts, the real itself, turned into a hyper-theatricalized version of events, lost its relevance under the rule of assumption and disbelief; while our past has been transformed into an archive of deceptions, the truth disappeared underneath the layers of abusive fiction; the ethics, understood as an “engagement in truth”, became "an impossible experience”.

We live the poignant, schizoid world of delusion, inhabited by intentional misreadings, political hoaxes and alternative facts. Welcome to the post-cinematic times of counterfactual thinking and amateur fantasy-storytelling.

The 10th chapter of Moving Image Department entitled Based on Real Events is focused on investigating the unsettling genesis of fiction and post-truth, and the lure of fabrication. Here the borderlines of the documentary and fictitious are blurred leading towards a new construction of the real conceived as a troubled hybrid of the factual and imaginary. Mastering the craft of mystification, the artists participating in this exhibition negotiate the conditions of reality's perception and the reading of the past and the history, considering insufficiency of knowledge, media frenzy, addiction to deception and an inclination towards an abstract vocabulary of looking at and experiencing a contemporary, hyper-mediated world of larger-than-fiction systems and codes.

Adéla Babanová (born 1980, Prague, lives and works in Prague) graduated from the Academy of Fine Arts in Prague in the studios of new media II, graphics II and the studio of conceptual work. She works primarily with the form of the short fiction films that straddle the boundary between video-art and film. Her movies are often based on real events from the recent Czechoslovak history that are still controversial or mysterious. Babanová works with archival footage that she manipulates in order to develop a completely new story. Her movies refer to the communist rhetoric misinformation, rewriting the history and the memory loss which are still inadequately reflected in East European post-communist society. Since 2008, she has been closely cooperating on her films with producer Tomáš Vach and with her brother Džian Baban who wrote the screenplays and composed the music scores of all their works.

Adéla Babanová presented her work at many solo and group exhibitions in museums and institutions such as the National Gallery Prague; Zacheta National Gallery of Contemporary Art, Warsaw; or KUMU, Tallinn. Babanová has also participated in many film festivals such as IFF Karlovy Vary; IFF Jihlava; IFF Febiofest, Prague or festival LOOP Barcelona.

Adam Curtis (born 1955, Kent, UK) is one of the most distinguished documentary film-makers. Exploring areas of sociology, psychology, philosophy and political history, Curtis is interested in investigating “power and how it operates in society”. His films won four British Academy Film and Television Awards. He has been closely associated with the BBC throughout his career. Amongst Curtis’ most important films are The Century of the Self (2002); All Watched Over by Machines of Loving Grace (2011) and most recently Living in an Unreal World and HyperNormalisation (both 2016).

Jan Šerych (born 1972, Prague, lives and works in Prague) from graduated the Academy of Fine Arts, Prague in the studios of Jiří Lindovský, Michal Bielický and Vladimír Skrepl). He participated in residencies at PROGR, Bern, Switzerland and at ISCP Program, N. Y., New York. Jan Šerých together with Josef Bolf, Ján Mančuška and Tomáš Vaněk was a member of the group The Headless Rider which they founded in 1996 while still students at the Academy of Arts. Sine 2014 he is Assistant Professor in the studio of painting under Vladimir Skrepl at Academy of Fine Arts, Prague.

Amongst his major solo exhibitions are Wysiwyg, Plato: City Gallery in Ostrava (2014); Cokoli (Whatever), Kabinet T. Gallery, Zlín (2013); Ano / Yes, Prague City Gallery, Old Town Hall, Prague (2009); Jan Šerých, Strabag Kunstforum, Vienna, AT (2009); Look Who’s Talking, House of Art, České Budějovice (2003) or Dial, National Gallery, Veletržní palác, Prague (1999). His most recent group exhibitions are Kuna carries Nanuk: The Art of Reading Art, 8SMIČKA, Humpolec (2019); Conditions of Impossibility I/VII: Alogorrhea, Cursor Gallery, Foundation and Center for Contemporary Art, Prague and Civilization at the Crossroad: Engineers of Scientific-Technical Revolution, Display, Prague (both 2018).

Daniel Pitin (born 1977, Prague, lives and works in Prague) studied at the Academy of Fine Arts in the classical painting studio of Zbyněk Beran and the conceptual media studio of Miloš Šejn. He is a recipient of numerous prizes, including Henkel prize, Vienna (2004) and the Prize for Best Animated Film (Lost Architect, 2008) at 2009 PAF Festival for Animated Films in Olomouc. Amongst his recent solo exhibitions are Broken Windows, House of Art, České Budejovice (2018); Grotto, Charim Gallery, Vienna (2018); The Mechanical Flowers, Nicodim Gallery, Los Angeles (2017), Crystal Gardens, GRIMM, Amsterdam (2017) and Baroque Office, hunt kastner, Prague (2016). His most recent group exhibitions are Criticon, Muzeum Vojtecha Löfflera, Košice (2018); Le nuove frontiere della pittura, Fondazione Stelline, Milano (2017); A Painter’s Doubt: Painting & Phenomenology, Salzburger Kunstverein, Salzburg (2017).

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