2024, 17' 37'', HD, 16:9, colour, stereo

The film The Past is the Fiction of the Present explores a case involving allegedly forged works by one of the most prominent artists of postwar modernism. A collector and art dealer defends against accusations of distributing inauthentic works by the artist, while a gallerist linked to the case fights to salvage his reputation.

The story is rooted in a legal battle that spanned over seven years, marked by unexpected twists, dubious facts, contested expert opinions, and speculative evidence. This case also implicated several notable figures in Vienna’s art scene. Documents, correspondence, legal transcripts, and evidence from this affair can be found in the Cathrin Pichler Archive, which forms the basis for the script. 

The film condenses these materials, many of which rely heavily on anecdotes and assumptions, revealing how fiction seems embedded within the narrative itself: private travel notes, verbal agreements, estimated production timelines for artworks, interpretations of handwriting, and artistic expression are all used as evidence and are fiercely disputed by opposing parties.

The work operates within the liminal space between fluid gossip and factual discourse, examining the roles attributed to these forms of knowledge. The Past is the Fiction of the Present also serves as an analogy for archival work: personal notes, one-sided correspondence, and pre-sorted documents often present fragmented narratives, offering loose threads that must be picked up and connected elsewhere.