Published at the conclusion of a cycle of exhibitions that took place over the course of four years, from a reflection on the notion of the “mediation” of artworks, the catalogue Reversibility: A Theater of De-Creation gathers documents and reports of a fragmentary nature, as well as the epistolary exchanges among the participants in the project, selected by Pierre Bal-Blanc, curator of CAC Brétigny and editor of the volume.
"Reversibility: A Theater of De-Creation
was inspired by a traumatic event that took place in 2008: the destruction of a work by David Lamelas
, Projection (The Screen Effect)
(1967-2004). The decision taken by the regulatory authorities of the Centre d'art contemporain de Brétigny to uninstall the work put an end to its display, which had lasted four years. […] The prologue to Reversibility
took place in 2008 at the stall of the Fair Gallery (gb agency, Paris; Hollybush Gardens, London; Jan Mot, Brussels; Raster Gallery, Warsaw) during the Frieze Art Fair in London. It was further developed in a public institution in 2010 at the CAC Brétigny (the Centre d'art contemporain de Brétigny, France) and concluded in 2012 at Peep-Hole, in Milan, within the context of a private non-profit structure financed by donations from artists. […] The actantial structure of Reversibility: A Theater of De-Creation
in three parts takes the form of classical drama: exposition, climax and denouement. For each chapter, and among each group of works, a particular piece is specifically related to each setting (in turn, commercial, institutional and private) in a principle of functional and symbolic equivalence: Dos Espacios Modificados
(1967-2008) by David Lamelas
during the Frieze Art Fair in London; Floating Wall
by Robert Breer
at the Centre d'art contemporain de Brétigny, France; No Necesita Titulo
(1990-2012) by Isidoro Valcárcel Medina for Peep-Hole, a non-profit art space in Milan."
With Heidi Ballet, Nathalie Boutin, Michal Budny, Andrea Büttner, Rafał Bujnowski
, Lukasz Gorczyca, Solène Guilier, Claire Hooper, Michal Kaczynski, David Lamelas
, Benoît Maire
, Jan Mot, Deimantas Narkevicius
, Lisa Panting, Dominique Petitgand
, Pratchaya Phinthong, Pia Rönicke, Malin Ståhl,
Annie Vigier & Franck Apertet (Cie les gens d'Uterpan)
, Giasco Bertoli
, Robert Breer
, Sanja Ivekovic, François Laroche-Valière, Marianne Maric, Rainer Oldendorf et Jimmy Robert & Ian White,
Andrea Büttner, Esther Ferrer, Felix Gonzalez-Torres, Sanja Ivekovic, Ben Kinmont
, Jirí Kovanda
, Marcello Maloberti
, Teresa Margolles, Emilie Parendeau
, Martha Rosler
, Santiago Sierra, Slaven Tolj, Isidoro Valcarcel Medina.
Pierre Bal-Blanc is a French art critic and independent curator based in Paris and Athens. Editor-in-chief of the magazine Bloc Notes between 1998 and 2000, co-founder of the agency Design Mental, he directed the Contemporary Art Center of Brétigny-sur-Orge (Essonne) from 2003 to 2014. In 2017, he curated Documenta 14 in Kassel and Athens. One of the most prominent curators of the contemporary art scene, Bal-Blanc's focuses his practice on paradoxes of perversion and transgression, living and object, via industrialization and processes of production. His exhibitions have been displayed at: CAC Brétigny/ Micadanses, Stuk Leuven, Tate Modern London, MoMA Warsaw, and Berlin Biennale, among many others. In 2017, he curated Der Canaletto Blick – The Canaletto View, a commission program for Easter Group Bank AG at the Erste Campus in Vienna, and in the same year he published the book Project Phalanstère
(Sternberg Press, 2017).