{"id":5560,"date":"2017-10-26T09:47:32","date_gmt":"2017-10-26T07:47:32","guid":{"rendered":"https:\/\/balkon.art\/home\/?page_id=5560"},"modified":"2019-06-07T09:38:55","modified_gmt":"2019-06-07T07:38:55","slug":"off-biennale-budapest-people-players","status":"publish","type":"page","link":"https:\/\/balkon.art\/home\/en\/online-2017\/off-biennale-budapest-people-players\/","title":{"rendered":"OFF-Biennale Budapest | People Players"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”60″][vc_column_text]\n

Zbyn\u011bk Baladr\u00e1n, Johanna Billing, Marvin Gaye Chetwynd, Ex-Artists\u2019 Collective (Tam\u00e1s Kasz\u00e1s and Anik\u00f3 Lor\u00e1nt), \u00c1d\u00e1m Kokesch, Eva Ko\u0165\u00e1tkov\u00e1, Joanna Piotrowska, Jean-Marie Straub and Dani\u00e8le Huillet<\/h3>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”25″][vc_column_text]\n

Curators: The curatorial team of OFF-Biennale
\nAssistant curators: Ferenc Bon\u00e9, Csilla Huszka, Vikt\u00f3ria Popovics<\/h4>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”25″][vc_column_text]\n

H\u00e1rom Holl\u00f3 K\u00e1v\u00e9h\u00e1z, Budapest
\n29 September \u2013 5 November 2017<\/h4>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”50″][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”full-4″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”5094″ alignment=”” animation=”None” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

H\u00e1rom Holl\u00f3 K\u00e1v\u00e9h\u00e1z, 1052 Budapest, Piarista k\u00f6z 1. Entrance from Szabad Sajt\u00f3 \u00fat | Photos by Ferenc Eln<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”full-4″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”60″][image_with_animation image_url=”5272″ alignment=”” animation=”None” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”top-bottom” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”60″][vc_column_text]\n

By game,<\/em> as grownups, we mean looking for the possibility of a new start, of alternative realities. We assume that entering a game is voluntary, without coercion; in a game, we can be free, we can re-render our experiences of the world. Accepting, correcting, dismissing the rules of the world that surrounds us, or opposing them and dismissing reality, is made possible by games; we can choose a strategy without having to make our decision final.<\/p>\n

We play because our intentions are dismissed by reality, and we play because this is something we refuse to accept. We believe that a game has alternative directions, or has an alternative route to the same destination; it bolsters new skills and offers new perspectives, therefore \u2013 just as any form of learning \u2013 it does transform reality, in the end. Fine art, in that regard, is a comrade to playing, which explains art\u2019s particular openness and responsiveness toward games, as well as toward exposing reality. The works at the exhibition also address the risks of idealizing games; transposing the heavy burdens of innocence on children, or using games in covering up the trap of an imprisonment in parallel worlds.<\/p>\n

The exhibition People Players<\/em> is revolved around the joy a game conveys, and playing, the soberness of discovery. A player is liberated and contemplative; they are inside and outside at once, they play and they see themselves playing.<\/p>\n

Source of texts: offbiennale.hu\/en\/program\/people-players<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”80″][vc_column_text]\n

Joanna Piotrowska: Frantic,<\/em> 2016\u201317, photo series, (detail); courtesy of the artist<\/p>\n[\/vc_column_text][image_with_animation image_url=”5101″ alignment=”” animation=”None” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][divider line_type=”No Line” custom_height=”60″][image_with_animation image_url=”5103″ alignment=”” animation=”None” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”top-bottom” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”40″][vc_column_text]\n

Joanna Piotrowska, who majored in photography at the London Royal College of Art, creates artworks that are poised amidst performance, installation and documentary photography. In her black-and-white photographic series, she most often records unusual and absurd compositions of humans and objects. For her most recent series, Frantic<\/em> (2016\u201317), she asked local people in Rio de Janeiro and Warsaw to make shelters from their personal belongings and furniture inside their homes. The \u201csmall houses\u201d that children assemble from carpets and furniture represent their first space of privacy and autonomy, a hideaway providing inviolable protection. Piotrowska documents the precarious relationship between the motionless residents, who are already grown-ups, and their sometimes wobbly, other times desolate, or downright anthropomorphic constructions. In this subtle, tense balance, the childhood faith in security has been replaced by the utopia of seeking protection.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”60″][vc_column_text]\n

Eva Ko\u0165\u00e1tkov\u00e1: C (You),<\/em> 2016; metal, sound; courtesy of the artist and the Meyer Riegger Gallery<\/p>\n[\/vc_column_text][image_with_animation image_url=”5273″ alignment=”” animation=”None” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”60″][image_with_animation image_url=”5115″ alignment=”” animation=”None” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][divider line_type=”No Line” custom_height=”30″][vc_column_text]\n

The works of Eva Ko\u0165\u00e1tkov\u00e1 often originate from the environment of privacy or personal experience; they are concerned with the mechanisms and rites of primal communities such as a family or a school. Recurring themes in the oeuvre are social control and manipulation, the manifoldness of positions held by the individual through a variety of social structures, as well as the possibilities of movement within these positions. On display at the exhibition J\u00e1t\u00e9kok n\u00e9pe<\/em> are works bearing a strong resemblance to walking frames and children\u2019s walking aids, which explore similar topics: limited mobility, the possibility of acting uncontrolled and free, in addition to the invisible and restrictive structures built around us by others or by ourselves.<\/p>\n

Somewhere between a cage and a strange creature, the walking frames \u2013 equipped with earphones \u2013 guide the visitors through the exhibition space, into imaginary rooms and landscapes, all the while they point towards suggestions \u2013 each a playful thought experiment in itself \u2013 of a different experience of space, a more conscious way of walking and a connection between action and speech. Aside from giving support and encouragement, the walking frame helps the user to see, to experience, it guides and teaches. At the same time during the walk a mutual dependency of device and user emerges; the more time passes, the more difficult to tell, who leads who, and whether the walk in the virtual space is dependent from the one in reality, or the other way around.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”80″][vc_column_text]\n

Johanna Billing: I\u2019m Gonna Live Anyhow Until I Die,<\/em> 2012, HD, Blu-Ray, 16\u201929\u2019\u2019, loop; courtesy the artist and Hollybush Gardens, London<\/p>\n[\/vc_column_text][image_with_animation image_url=”5275″ alignment=”” animation=”None” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][divider line_type=”No Line” custom_height=”60″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][layerslider_vc id=”19″][divider line_type=”No Line” custom_height=”20″][vc_column_text]\n

johannabilling.com\/im-gonna-live-anyhow-until-i-die-2012-hd-1629-loop\/<\/a><\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”30″][vc_column_text]\n

Johanna Billing\u2019s works in the mediums of film and music often start from the relationship between the individual and the community. Attesting to their author\u2019s intensive attention and empathy, her films unfold from the seamless integration of staged and spontaneous situations. Her video work presented at OFF-Biennale, I\u2019m gonna live anyhow until I die,<\/em> reflects the artist\u2019s committed inquiry into community-style education based on mutual help, but the Italian demonstrations against restrictions affecting the education system in 2010 and the critiques of the populist education reform can also be detected as an underlying source of inspiration for making the film.<\/p>\n

Produced in 2012, the film follows a group of children across Rome as they slip out of a restaurant by the Tiber River, leaving their parents behind enjoying their peaceful lunch, then band together and start running through the streets of the city. Eventually, they arrive in a vacant school building where time seems to stand still: the classroom interiors, the instruments and tools appear familiarly ageless. Roaming about the building inquisitively, the children open classrooms and cabinets, trying to find out what one can (or could once) do with the various things found there. Taking sheets of paper, paint and brushes, they fall to dabbling in the corridor, outside the classrooms that epitomize delimitations and regulations. As the corridor floor slowly becomes covered with black blots that evoke the world of the Rorschach tests, the viewers find themselves becoming the subjects of the test: we may try to unravel what we can actually see in the blots. In the meantime, the children leave and make their way with a hesitant pace through classical working-class districts of Rome back to the restaurant: the adult society.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”80″][vc_column_text]\n

Ex-Artists’ Collective (Tam\u00e1s Kasz\u00e1s and Anik\u00f3 Lor\u00e1nt): People Players,<\/em> 2013\u20132017, installation; courtesy of the artists<\/p>\n[\/vc_column_text][image_with_animation image_url=”5118″ alignment=”” animation=”None” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][divider line_type=”No Line” custom_height=”60″][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”full-4″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”5119″ alignment=”” animation=”None” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][divider line_type=”No Line” custom_height=”60″][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”full-4″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”5120″ alignment=”” animation=”None” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][divider line_type=”No Line” custom_height=”60″][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”full-4″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”5121″ alignment=”” animation=”None” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][divider line_type=”No Line” custom_height=”60″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][layerslider_vc id=”20″][divider line_type=”No Line” custom_height=”20″][vc_column_text]\n

Working in co-operation since 2003, Tam\u00e1s Kasz\u00e1s and Anik\u00f3 Lor\u00e1nt adopted the alias Ex-Artists\u2019 Collective in 2010 in order to show that their interests lie in questions traditionally considered to be non-artistic. Subject-matters such as secession, cataclysm and survival, self-sustainability, economics and perspectives of human cohabitation with nature, collectivity, opposition of theory and practice, vernacular sciences, or fictive anthropology make up this body of work.<\/p>\n

People Players,<\/em> the installation currently on display, is based on an ever-evolving series of videos from 2013 onward. Games are presented in these short videos, which feature not only found objects and elements of the traditional sciences of the vernacular, but patterns inherited or transcribed from foreign cultures. Whether objects made by the artists or clothing and customs of a fictive ethnicity, the principles of folk science underlie the various games; they are made of cheap and recycled materials and utilize all available \u2013 old and new alike \u2013 technologies. Although in the constant presence of anthropological self-observation Ex-Artists\u2019 Collective appears as members of a recluse community living harmoniously with nature, building their own private realities, in which creativity, playing and joy are the overarching principles. The videos, drawings and objects of the installation as well as the workshops led by the artists alongside the exhibition provide insight into a world reaching beyond the everyday experience of situations of manifold dependences, a world of autonomous thinking, fantasy and collective play. A world just as familiar as it is surprisingly alien and distant.<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”20″][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”30″][vc_column_text]\n

Jean-Marie Straub \u2013 Dani\u00e8le Huillet: En rach\u00e2chant,<\/em> 1982, 35 mm film, transferred to DVD, 7\u2019; Agence du court m\u00e9trage<\/p>\n[\/vc_column_text][image_with_animation image_url=”5463″ alignment=”” animation=”None” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”60″][image_with_animation image_url=”5464″ alignment=”” animation=”None” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”30″][vc_column_text]\n

Among Dani\u00e8le Huillet and Jean-Merie Straub\u2019s austere, thought-provoking and often radically political films, En rach\u00e2chant<\/em> is the only comedy. Just as every film they make is an adaptation of an existing literary work or political text, En rach\u00e2chant<\/em> is based on a short story by Marguerite Duras, \u201cAh! Ernesto!\u201d (1971). The short story is about a nine-year-old boy who rejects any form of authority, whether he encounters it at school, in the family or in the larger society.<\/p>\n

One day, Ernesto announces that he is never going back to school, as they only teach him things that he does not know. His parents take him to the school to see his teacher. The teacher\u2019s authority and arguments fail to reach any result. While his father describes Ernesto, saying, \u201cNo one sees him! It’s as if he didn’t exist!\u201d, the boy gives resolute and surprising answers to the questions posed to him, irritating the teacher and driving his parents to despair. Initially, the teacher tries various ways to convince the little boy to go to school, until he becomes more and more desperate and furious as he wants the boy to explain why he rejects school and learning. Ernesto says that it takes too long to learn things and it does not help anything. The teacher asks him, \u201cTell us how you plan to learn what you already know?\u201d „By re-de-de re-see-see re-pee-peeting!” (rach\u00e2chant), \u201cit’s a new method,\u201d responds Ernesto. Ernesto\u2019s impertinent and rebellious attitude queries the foundations of the generally accepted education system and the conformist world-view represented by the film\u2019s adult protagonists.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”80″][vc_column_text]\n

\u00c1d\u00e1m Kokesch: Untitled,<\/em> 2017, installation, size variable; courtesy of the artist<\/p>\n[\/vc_column_text][image_with_animation image_url=”5128″ alignment=”” animation=”None” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”full-4″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”60″][image_with_animation image_url=”5276″ alignment=”” animation=”None” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”full-4″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”60″][image_with_animation image_url=”5277″ alignment=”” animation=”None” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”full-4″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”60″][image_with_animation image_url=”5278″ alignment=”” animation=”None” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”60″][image_with_animation image_url=”5503″ alignment=”” animation=”None” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ 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