REALITY_chapter1: WELLBEING

Four performers represent typical halloween monsters: a ghost, an alien, a vampire, and a witch. These characters experience exclusion from mainstream society, which is characterized by oppression and discrimination, and are therefore forced to live on its periphery. Such characters form a simple metaphor for minority groups (queer, people of different skin colors, etc.). As a result, they sign up for a new reality show, seeing it as an opportunity to win a guaranteed rent coverage for two years.

Episodes:  here

The core of the project is true improvisation in the moment, based on both improvisational and theoretical preparation. The characters and their traits were individually created by each team member for themselves, while the dynamics between the characters were worked on collectively.

For each episode, the artist and journalist Olga Wawracz wrote a serialized essay in Czech.

REALITY_chapter2: THE DOOM

THE DOOM is a fictional documentary that deals with the phenomenon of people who emerged from a reality show. The housing crisis is no longer a concern for the main characters, so the focus shifts more towards social media, podcasts, and entrepreneurship. The film deliberately plays with contrasts – activism vs. apathy, humor vs. horror, film craftsmanship vs. trash.

The film continues the story of the characters from the reality show REALITY WELLBEING. In December 2024, half a year after shooting wrapped, a series of documentary interviews with the participants and crew of the show begins, initiated by the Vampire.

Christmas dinner and football will solve all disagreements!

REALITY_chapter3: SHOWCASE
/solo exhibition Galerie TIC//3.6. - 26.7. 2025/

The exhibition REALITY_chapter3: SHOWCASE concludes the trilogy of the REALITY project, whose previous parts – WELLBEING and THE DOOM – combined formats of a reality show and a fictional documentary to address current social phenomena, especially the housing crisis, through irony, stylization, and the use of "monster" characters (vampire, ghost, witch, alien).

While WELLBEING staged a competition between four protagonists in a state of housing insecurity, THE DOOM followed their transformation into influencers, entrepreneurs, or podcasters, gradually morphing into a subliminal ad for an energy drink. Social commentary faded, empathy was lost, and tabloid spectacle took over.

SHOWCASE is not a recap but a culmination — a physical, scenographic installation that translates key motifs from the project into an immersive space. The primary medium remains the moving image, now expanded into a spatial environment reminiscent of an exhibition hall or an abandoned stage after an event. The viewer enters a space where something happened — and perhaps still echoes.

A crucial feature of the trilogy is its continuous meta-performance: REALITY repeatedly reveals its artificiality, breaks character, and exposes its own set design. It's not just fiction but a game of fiction — a game of crisis, a game of fame, a game of authenticity. Major societal themes like the housing crisis are explored with full awareness of their aestheticization and overuse in contemporary art. Rather than moralizing, the project offers distance, crystalline post-irony, and deliberate position-switching.

The exhibition space plays with familiar symbols — branding, lighting design, festival layouts — but retains an air of emptiness, something exhausted. The division between the stage and the audience is symbolic at best. The room feels deserted, even though lights and tech are still running. When the spotlight hits the visitor, roles are reversed. The lighting, its flashes, sharpness, and directionality symbolize both exhibitionism and discomfort, a breach of personal space — sensations familiar to any participant in a reality show. A show that may have been lavishly expensive — or at least pretended to be. Recently, the focus was on them — now, it's on us.