– Main space : “Reconstructive Memory” group show curated by IOP, It’s Our Playground

w/ Michael Assiff, Gina Beavers, Nicolas Deshayes, Philipp Timischl, Hayley Tompkins and Travess Smalley

Reconstructive Memory is an English term borrowed from cognitive psychology meaning that memory is not a faithful reproduction of past events but rather a mental faculty based on recollectionreconstruction processes. Depending on our emotions, our level of tiredness, our beliefs, we may reconstruct episodes from our lives in a way that leads to distortions, alterations and false memories.

Since the invention of computers, the data-storage race has been generating technological debates. The machines are obliged to keep offering more memory to enable us to preserve our own. Like a search engine, our brain uses this external memory more and more, and invents strategies to free itself from the overload of amassed information. It therefore knows where to find the details it needs, without needing to store the contents: a new way to operate our encephalon, approaching a form of artificial intelligence.

It has now become a habit on the internet: documentation precedes exhibition visits. Those immaculate images purged of all imperfections circulate quickly, often substituting for the works, which must be photogenic above all. In Reconstructive Memory, we further accentuate the difference between the physical encounter with the pieces and their discovery through documentation. In fact, although we are able to get close to the works in the gallery, the experience behind the screen is disrupted by large printed transparent filters placed in the axis of the pieces hung on the gallery walls, allowing only a partial view of these.
Whether it be the paintings that Gina Beavers has carefully modelled and painted based on photographs gleaned on Google images; poetic collages by Hayley Tompkins made up of rephotographed advertisements arranged on galvanized metal panels; thermally moulded intestinal paintings by Nicolas Deshayes; sculpted paint by Michael Assiff; varnished, melancholic paintings by Philipp Timischl; or the woven digital image by Travess Smalley, the works presented in the space are hard to understand by means of a two-dimensional image. Beyond their meaning, they were chosen for their complex materiality and appear muddled, as if they had poorly digested their transfer to the screen. Fleshy, corporeal, reflecting our own anatomy, they make Reconstructive Memory an exhibition you want to roam, explore, even touch.

The large-format prints placed in the visitor’s field of vision were made from Galerie Valentin’s photographic archives. During the consultation period, our own memories of visits to rue Saint-Gilles resurfaced. We were gripped by the specificities of the place and the hanging automatisms that led successive photographs to produce five recurring viewing angles. Collages created by superimposing and deforming dozens of exhibition views are seen as memory interfaces, mnesic traces of the past thirteen years. Taking as their very subject the place in which they have been set up, these porous screens oscillate between scenographic elements and contextual sculptures. These ambiguous filters, conceived as pieces that condition access to the works and unsettle visitors, act as revelatory reproductions offering a new perspective on the work of the invited artists.

The exhibition follows Screen Play (SWG3 Gallery, Glasgow 2014); Deep Screen (Parc Saint-Léger, Pougues-les-Eaux 2015) and Show Room (Glassbox, Paris 2015) and is part of an exploration of methods of producing, installing, apprehending and distributing an exhibition. Reconstructive Memory offers two simultaneous experiences that are different and complementary at the same time. Although coming to the gallery will still make it possible to have a special relationship with the works, the online visit, a genuine exhibition project in its own right, will be no less unique and original. Whichever experience is had, our memory will inexorably make sure to change our recollection of it.

It’s Our Playground

Formed in 2009, It’s Our Playground is an artist duo consisting of Camille Le Houezec and Jocelyn Villemont. Most of IOP’s initiatives take the form of exhibitions, online projects, scenographies or installations, which have the particularity of using curating as a medium. IOP pursues an unneurotic exploration of forms of presentation, exhibition setups and the internet’s influence on contemporary life and art. They recently had two duo exhibitions in 2016: Mental Matter at Bains-Douches in Alençon and Visual Matter at Piacé le Radieux. Their new project Exhibition Gradient has been online since February.

6249_IOP_©Gregory_Copitet_002From the left to the right :

Michael Assiff
« Untitled (Calico) », 2015
Plastic on canvas
202 x 147,3 x 3,8 cm / 79 ½ x 58 x ½ inches

It’s Our Playground
«  Reconstructive Memory (Valentin I) », 2016
UV print on plastic, stands
200 x 280 x 65 cm / 110 ¼ x 78 ¾ x 25 6/10 inches

Philipp Timischl
« Symbol Luxury Excellent Industry Material basic, Martos Gallery », 2015
UV-direct print, acrylic paint and epoxy resin on canvas with engraved acrylic glass and custom made frame
90 x 65 cm / 35 7/16 x 25 9/16 inches

6249_IOP_©Gregory_Copitet_003It’s Our Playground
« Reconstructive Memory (Valentin I) » 2016
UV print on plastic, stands
200 x 280 x 65 cm

6249_IOP_©Gregory_Copitet_004From the left to the right :

Hayley Tompkins
« Lookalike XXV », 2016
Acrylic paint, digital photo, stickets, marker pen, galvanised metal tray
61 x 47,4 x 4,4 cm

It’s Our Playground
«  Reconstructive Memory (Valentin IV) » & «  Reconstructive Memory (Valentin V) », 2016
UV print on plastic, stands
200 x 280 x 65 cm / 110 ¼ x 78 ¾ x 25 6/10 inches

Nicolas Deshayes
« Cramps », 2015
Vacuum-formed plastic, pigmented polyurethane foam, powder coated aluminium, neoprene foam
124,5 x 185,5 x 15 cm (chaque)

6249_IOP_©Gregory_Copitet_005From the left to the right :

Nicolas Deshayes
« Cramps », 2015
Vacuum-formed plastic, pigmented polyurethane foam, powder coated aluminium, neoprene foam
124,5 x 185,5 x 15 cm (chaque)

It’s Our Playground
«  Reconstructive Memory (Valentin V) », 2016
UV print on plastic, stands
200 x 280 x 65 cm / 110 ¼ x 78 ¾ x 25 6/10 inches

6249_IOP_©Gregory_Copitet_006From the left to the right :

Hayley Tompkins
« Lookalike XXV », 2016
Acrylic paint, digital photo, stickets, marker pen, galvanised metal tray
61 x 47,4 x 4,4 cm

It’s Our Playground
«  Reconstructive Memory (Valentin IV) » & «  Reconstructive Memory (Valentin V) », 2016
UV print on plastic, stands
200 x 280 x 65 cm / 110 ¼ x 78 ¾ x 25 6/10 inches

Nicolas Deshayes
« Cramps », 2015
Vacuum-formed plastic, pigmented polyurethane foam, powder coated aluminium, neoprene foam
124,5 x 185,5 x 15 cm (chaque)

6249_IOP_©Gregory_Copitet_007From the left to the right :

Hayley Tompkins
« Lookalike XXV », 2016
Acrylic paint, digital photo, stickets, marker pen, galvanised metal tray
61 x 47,4 x 4,4 cm

It’s Our Playground
«  Reconstructive Memory (Valentin IV) » & «  Reconstructive Memory (Valentin III) », 2016
UV print on plastic, stands
200 x 280 x 65 cm / 110 ¼ x 78 ¾ x 25 6/10 inches

6249_IOP_©Gregory_Copitet_008From the left to the right :

Gina Beavers
« Lip Hybrids in Bullet and Raven », 2016
Acrylic and wood on canvas
78,7 x 78,7 x 10 cm / 31 x 31 x 4 inches

It’s Our Playground
«  Reconstructive Memory (Valentin III) », «  Reconstructive Memory (Valentin IV) » & «  Reconstructive Memory (Valentin V) », 2016
UV print on plastic, stands
200 x 280 x 65 cm / 110 ¼ x 78 ¾ x 25 6/10 inches

Hayley Tompkins
« Lookalike XXV », 2016
Acrylic paint, digital photo, stickets, marker pen, galvanised metal tray
61 x 47,4 x 4,4 cm

6249_IOP_©Gregory_Copitet_009From the left to the right :

It’s Our Playground
«  Reconstructive Memory (Valentin III) », 2016
UV print on plastic, stands
200 x 280 x 65 cm / 110 ¼ x 78 ¾ x 25 6/10 inches

Gina Beavers
« Lip Hybrids in Bullet and Raven », 2016
Acrylic and wood on canvas
78,7 x 78,7 x 10 cm / 31 x 31 x 4 inches

6249_IOP_©Gregory_Copitet_010From the left to the right :

It’s Our Playground
«  Reconstructive Memory (Valentin V) », «  Reconstructive Memory (Valentin III) » & «  Reconstructive Memory (Valentin IV) », 2016
UV print on plastic, stands
200 x 280 x 65 cm / 110 ¼ x 78 ¾ x 25 6/10 inches

6249_IOP_©Gregory_Copitet_011From the left to the right :

Nicolas Deshayes
« Cramps », 2015
Vacuum-formed plastic, pigmented polyurethane foam, powder coated aluminium, neoprene foam
124,5 x 185,5 x 15 cm (chaque)

It’s Our Playground
«  Reconstructive Memory (Valentin IV) », «  Reconstructive Memory (Valentin V) » & «  Reconstructive Memory (Valentin III) », 2016
UV print on plastic, stands
200 x 280 x 65 cm / 110 ¼ x 78 ¾ x 25 6/10 inches

Travess Smalley
« Action 01 Dec_30_2015_Pattern_Photocopie_Scans_14 », 2016
Cotton
172,72 x 121,92 cm / 68 x 48 inches

6249_IOP_©Gregory_Copitet_012From the left to the right :

Travess Smalley
« Action 01 Dec_30_2015_Pattern_Photocopie_Scans_14 », 2016
Cotton
172,72 x 121,92 cm / 68 x 48 inches

It’s Our Playground
«  Reconstructive Memory (Valentin III) », 2016
UV print on plastic, stands
200 x 280 x 65 cm / 110 ¼ x 78 ¾ x 25 6/10 inches

Gina Beavers
« Lip Hybrids in Bullet and Raven », 2016
Acrylic and wood on canvas
78,7 x 78,7 x 10 cm / 31 x 31 x 4 inches

– Project room : solo show by Anne de Vries on a proposal by IOP

Anne de Vries’ video probes the emotionally charged esotericism of huge electronic dance music events in particular those dedicated to the genre known as Hardstyle. Evolving from a subculture of electronic music in the 1970s, whose tracks were aimed to empower and unite its small (often queer) and alternative communities, today this form of electronic dance events has evolved into spectacularly staged, mass culture productions mounted by promotional companies such as Q-dance. In the film swarms of tens of thousands of bodies in concert locations are filmed with the zoom-in and zoom-out of a sporting event cam. A text inspired by the essay “Pure Immanence” by Gilles Deleuze runs throughout the film as a voice-over exploring the philosophical dimension of crowd-based experience. The film is a hypnotic, unsettling articulation of altered state of consciousness as generated by sound and visual effects, the celebration of the synthetic, and the convergence of current tendencies in philosophy and entertainment culture.

6258_ADV_©Gregory_Copitet_001Anne de Vries
Critical Mass: Pure Immanence, 2015
Full HD video, color, sound, loop, 14′
Camera, video edit, lyrics, and musical arrangement
Anne de Vries, Q-Dance
Music Phill Niblock, Thomas Ankersmit, Pye Corner Audio, Incredible String Band, Nils Frahm, Aqua Dome and others

6258_ADV_©Gregory_Copitet_002Anne de Vries
Critical Mass: Pure Immanence, 2015
Full HD video, color, sound, loop, 14′
Camera, video edit, lyrics, and musical arrangement
Anne de Vries, Q-Dance
Music Phill Niblock, Thomas Ankersmit, Pye Corner Audio, Incredible String Band, Nils Frahm, Aqua Dome and others

6258_ADV_©Gregory_Copitet_003Anne de Vries
Critical Mass: Pure Immanence, 2015
Full HD video, color, sound, loop, 14′
Camera, video edit, lyrics, and musical arrangement
Anne de Vries, Q-Dance
Music Phill Niblock, Thomas Ankersmit, Pye Corner Audio, Incredible String Band, Nils Frahm, Aqua Dome and others

6258_ADV_©Gregory_Copitet_004Anne de Vries
Critical Mass: Pure Immanence, 2015
Full HD video, color, sound, loop, 14′
Camera, video edit, lyrics, and musical arrangement
Anne de Vries, Q-Dance
Music Phill Niblock, Thomas Ankersmit, Pye Corner Audio, Incredible String Band, Nils Frahm, Aqua Dome and others

6258_ADV_©Gregory_Copitet_005Anne de Vries
Critical Mass: Pure Immanence, 2015
Full HD video, color, sound, loop, 14′
Camera, video edit, lyrics, and musical arrangement
Anne de Vries, Q-Dance
Music Phill Niblock, Thomas Ankersmit, Pye Corner Audio, Incredible String Band, Nils Frahm, Aqua Dome and others

Current exhibitions @ Valentin, Paris
– Main space : “Reconstructive Memory” group show curated by IOP, It’s Our Playground
with Michael Assiff, Gina Beavers, Nicolas Deshayes, Philipp Timischl, Hayley Tompkins and Travess Smalley
– Project room : solo show by Anne de Vries on a proposal by IOP.

July 1st – July 23, 2016

www.galeriechezvalentin.com