Fotograf Festival → The National Gallery / Veletržní Palace

29. 9. 2015 – 7 pm

3rd Chapter: The Owl's Legacy and Its Discontents

Moving Image Department

Exhibition

Curators: Jen Kratochvil, Adam Budak

Tue–Sun 10am–6pm
On display until: 3. 1. 2016

Moving Image Department, which is Chapter 3 of new permanent programme at the National Gallery in Prague, will introduce various documentary approaches in contemporary art in the works of Eric Baudelaire, Duncan Campbell, Josef Dabernig, Liam Gillick, Christian Jankowsky, Maria Loboda,

Chris Marker and Lucy Raven. In connection with the exhibition there will be a series of lectures, screenings, workshops and performances with the French curating duo Aliocha Imhoff & Kantuta Quiros, Eric Baudelaire, Lucy Raven and James Richards with Isla Leaver Yap, in cooperation with the Are initiative.

29. 9. 2015 – 19:00

Fotograf magazine issue launch

Fotograf Festival Opening Ceremony

Presentation

Tue–Sun 10am–6pm

1. 10. 2015 – 31. 10. 2015

Chapter 3: (documentary)

The Importance of Being In the (Moving) Picture

Children's Educational Programme

Tue–Sun 10am–6pm

Related Programme:
Workshops and educational projects for children and other groups, based on the festival topic.

Chris Marker /Owl’s Legacy
Adam Curtis /All Watched Over By Machines of Loving Grace
Christian Jankowski /The Eye of Dubai
Duncan Campbell /Make It New John (2009)
Werner Herzog

2. 10. 2015 – 2–6 pm

Taco Hidde Bakker, Reinhard Braun, Vít Havránek, Maria Lind, Adam Mazur

Documenting the Present

Discussion Forum

Tue–Sun 10am–6pm

invited speakers:

Taco Hidde Bakker (Amsterdam)
Reinhard Braun (Graz)
Vít Havránek (Praha)
Maria Lind (Stockholm)
Adam Mazur (Varšava)

Chair: Adam Budak (NG)

The “documentary turn” has often been mentioned in debates surrounding the art of the last two decades. Is it possible to describe the ways in which this turn has influenced contemporary photography? Hasn’t the influx of visual information that we consume on a daily basis somehow deviated from the use of documentary photography? How has our perception of documentary changed in the age of smartphones, social media, and youtube?

Documentary often reemerges in art history in connection with an ongoing crisis – the activities of the Farm Security Administration and the great documentary wave which swept across art genres in the 1930s are two popular examples – but this could also be discussed in connection to the normalization in Czechoslovakia. Does this imply that documentary waves can be predicted based on observations of current social development?

Veletržní palác, Národní Galerie, 5. patro, Dukelských Hrdinů

All presentations including the subsequent discussion will be simultaneously interpreted into Czech or English.