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Stalagmite, Calcite, échantillon RSM6C des collections de l’IRSNB © photo : Erik Van de gehuchte

Stalagmite, Calcite, échantillon RSM6C des collections de l’IRSNB © photo : Erik Van de gehuchte

Stéphanie Roland, Missing people, yellow notices, 2022 © / courtesy Stéphanie Roland

Stéphanie Roland, Missing people, yellow notices, 2022 © / courtesy Stéphanie Roland

 Cecilia Hurtado, Asunción, 2003, série de photographies trouvées

Cecilia Hurtado, Asunción, 2003, série de photographies trouvées

Alexis Choplain / Noëlie Plé,  Résurgences Mnémosynes, vue d’exposition (Artothèque de Caen/Festival ]Interstice[ (2022) © / courtesy Alexis Choplain

Alexis Choplain / Noëlie Plé, Résurgences Mnémosynes, vue d’exposition (Artothèque de Caen/Festival ]Interstice[ (2022) © / courtesy Alexis Choplain

Céline Cuvelier, Try to fit in, Aquarelle et crayon sur papier, 2022 © / courtesy Céline Cuvelier

Céline Cuvelier, Try to fit in, Aquarelle et crayon sur papier, 2022 © / courtesy Céline Cuvelier

Cecilia Hurtado, Asunción, 2003, série de photographies trouvées

Cecilia Hurtado, Asunción, 2003, série de photographies trouvées

Upcoming exhibition
27 Jan.25 Mar.

Opening
26.01.23
18:00 21:00

Upcoming exhibition
27 Jan.25 Mar.

Memories Gone Wild

FICTIVE ARCHIVE INVESTIGATIONS

For the Memories Gone Wild exhibition, 16 artists and researchers who make up the Fictive Archive Investigations international group present their personal and collaborative research, which is situated on the fictive borders of the archives.


Élise Billiard Pisani & Margerita Pulè – Philippe Black – Balthazar Blumberg – Giordano Bruno Do Nascimento – Juan Cárdenas – Alexis Choplain & Noëlie Plé – Céline Cuvelier – Claire Ducène – Patrick Gaïaudo – Cecilia Hurtado – Stéphanie Roland – Agata Skupniewicz – Sam Vanoverschelde – Julian Walker

Curatrice – Curator Claire Ducène

The archive, seen as a repository of information about one or more individuals, an organisation or a place, helps build what we perceive as truth. It attests to a tangible past: its position is concrete, it is unassailable and it is authoritative. However, its selectivity alone betrays its subjectivity. The processes of preservation, accumulation, sorting, acquisition and cataloguing include absences, losses and destruction, making the archive inherently incomplete, always open.
It is this openness, this space, that can be inhabited by the artistic field. The archive can become a mine of creative research. The works presented here take various forms: installations, drawings, photographs, collages, but all use the archive as a gateway to fiction.
The exhibition, a metaphor for the processes of memory, takes visitors into a fictional work peopled by imaginary characters, some, but not all of them, inspired by real events.