Giselle's Books

Beton Insel, Sleepwalkers, Coagulum – Screening of films by INVENTORY, 17.10.2021, Giselle’s Books · Marseille

Coagulum – a momentary clot in the heart of commerce
and other selected films

Inventory

17.10.2021
Giselle’s Books · Marseille

Marking the end of Inventory's exhibition 'A doctrine of scattered occasions', a selection of their films will be projected at Giselle's Books.

The exhibition will exceptionally be open without appointment from 2pm onwards and will be concluded with the projection of : Beton Insel (2004, 8 minutes), Sleepwalkers (2003, 17 minutes) and Coagulum - a momentary clot in the heart of commerce (2002, 19 minutes).

Giselle's Books, 28 Rue des Convalescents, 13001, Marseille

Open from 2 to 9PM. Film screening : 7PM

Marquant la fin de 'A doctrine of scattered occasions', l'exposition du collectif Inventory, une sélection de leurs films seront projetés à Giselle's Books.

L'exposition sera exceptionnellement ouverte sans rendez-vous à partir de 14h, et sera conclue par la projections des films suivants:  Beton Insel (2004, 8 minutes), Sleepwalkers (2003, 17 minutes) and Coagulum - a momentary clot in the heart of commerce (2002, 19 minutes).

Giselle's Books, 28 Rue des Convalescents, 13001, Marseille

Ouvert de 14h à 21h. Projection : 19h.

Screening of Inventory's films, Giselle's Books, 2021

ARCHIVE

A doctrine of Scattered occasions, Inventory, 28.08 – 17.10.2021, Giselle’s Books · Marseille

A doctrine of scattered occasions

Inventory

28.08 – 17.10.2021
Giselle’s Books · Marseille

Giselle’s Books presents the first exhibition in France of Inventory, a collective founded in London in the mid-nineties as well as a printed journal of the same name.

For this occasion, Inventory have begun to realise a longstanding project, to exhibit a new series of works that draw upon and develop research material that was first introduced within the context of the journal. Alongside is a broader constellation of works that relate to their most recent publication The Counsel of Spent (Book Works, 2018). In addition, a selection of documents, ephemera, notes and images from Inventory’s archive are displayed, charting their precarious trajectory from their tentative beginnings to the ever-vulnerable present. British art collective Inventory was founded in 1995 by Damian Abbott, Paul Claydon and Adam Scrivener. Since 2004, they are based in Kent (UK) and Toulouse (France).

Many of the new works presented here take, as their starting point, previously unseen visual research that was undertaken for articles that appeared in their eponymous journal Inventory. In their press release for their first issue, Inventory states that :

« The relationship between words and images is of paramount importance, but we do not wish this method to have a scientific character (in the sense of an ethnographic, documentary discourse) nor an artistic, literary value (which would condemn this material to an aesthetic musing). Rather, we wish to employ an emblematics whereby image and text are linked in a methodology which is at once historical, anthropological, poetic….»

For this exhibition, this notion of an ‘emblematics’ is re-orientated towards a more purely visual approach while maintaining an idea of ‘constellations of images’. However, this should not be simply understood as collage. Nor is it an attempt to merely present a picture of our times as a chaotic and impenetrable web of heterogeneous fragments. Because the, ‘choreography of these fragments as collage is an outmoded and pointless practice without an agenda which refuses to be seduced by the shattered image of society. The moment the fragment becomes resuscitated as an emblem, it transforms the social picture from one of irredeemable and alienated activity into one of recognisable yet still complex relationships.’

For Inventory, their practice is an approach to images and things in close up, almost too close. A kind of contaminated analysis that resides in bringing together small details, as well as the seemingly disparate, so that other impulses may be revealed. A dialectical re-constellation of images that allows for other critical interpretations, other narratives to coalesce and resonate.

Inventory’s previous solo exhibitions were at the Rob Tufnell gallery, London (2014 and 2016) White Columns, New York (2005); The Approach, London (2004, 2002 and 1999) and at The Modern Institute, Glasgow (1999). Recent collective exhibitions include: Condo London, Rob Tufnell (2018); The Revolutionary Suicide Mechanised Regiment Band, Rob Tufnell, Cologne (2016); Corruption Feeds, Bergen Kunsthall (2014); Make the Living Look Dead, 2nd Cannons Project Space, Los Angeles (2014); Ruin Lust, Tate Britain (2014); Keywords, INIVA (2013); A journey through London’s subculture, the ICA at Old Selfridges Hotel, London (2013), De Appel, Amsterdam (2008); Kunstverein Hamburg (2007); Museum of Contemporary Art, Belgrade (2007); Kunsthaus Dresden (2006); Aspen Art Museum (2006); Portikus, Frankfurt (2004); ICA, London (2003); Whitechapel Gallery, London (2003); Lenbachhaus, Munich (2002); the Courtauld Institute of Art, London (2001); their work is held in the collections of the Centre Pompidou, Paris and the Tate Gallery, London. Their work is represented by Rob Tufnell.

Giselle’s Books présente la première exposition monographique en France de Inventory, un collectif d’artistes fondé au milieu des années 1990 à Londres ainsi qu’une revue du même nom.
Pour cette occasion, Inventory ont commencé à réaliser un projet de longue date: exposer une nouvelle série de travaux qui puisent et développent un matériau de recherche initialement introduit dans le contexte de leur revue éponyme (publiée de 1995 à 2005). Elle s’accompagne d’une constellation de travaux relatifs à leur publication la plus récente, The Counsel of Spent (Book Works, 2018). De plus, Inventory présente une sélection de documents, d’éphéméras, de notes et d’images qui proviennent de leurs archives, retra- çant leur trajectoire précaire, des commencements incertains vers un présent toujours vulnérable.

Le collectif d’artistes britannique Inventory a été fondé en 1995 par Damian Abbott, Paul Claydon et Adam Scrivener. Depuis 2004, ils sont basés à Kent (RU) et à Toulouse (France).

Plusieurs nouveaux travaux présentés ont pour point de départ une recherche visuelle qui n’avait jamais été exposée auparavant, recherche entreprise en vue d’articles parus dans leur revue éponyme, Inventory. Dans le communiqué de presse pour le premier numéro, Inventory énonce :

« La relation entre les mots et les images est d’une importance primordiale, mais nous ne souhaitons pas donner à cette méthode un caractère scientifique (dans le sens d’un discours ethnographique ou documentaire) ni une valeur artistique, littéraire (qui condamnerait ce matériau à une rumination esthétique). Nous souhaitons plutôt faire appel à une emblématique où image et texte sont liés dans une méthodologie à la fois historique, anthropologique, poétique... ».

Pour cette exposition, la notion de l’« emblématique » est réorientée vers une approche plus purement visuelle, en maintenant une idée de « constellation d’images ». Toutefois, celle-ci ne doit pas être comprise simplement en termes de collage. Il ne s’agit pas non plus de présenter une image de notre temps comme une toile chaotique et impénétrable de fragments hétérogènes. Car « la chorégraphie des fragments en tant que collage risque d’être une pratique démodée et creuse si elle ne s’ancre pas dans une position qui refuse la séduction par l’image fracassée de la société. Au moment où le fragment est ressuscité comme un emblème, il transforme l’image sociale : l’image d’une activité aliénée et inexpiable devient l’image de relations intelligibles et reconnaissables, bien que toujours complexes ».

Inventory conçoit sa pratique comme une approche des images et des choses de près, presque trop près. C’est une sorte d’analyse contaminée, qui rassemble de petits détails et ce qui est disparate en apparence, pour que d’autres impulsions puissent se révéler. Une re-constellation dialectique d’images, pour que d’autres interprétations critiques émergent et que d’autres récits confluent et résonnent.

Leurs dernières expositions monographiques ont eu lieu à la galerie Rob Tufnell à Londres, en 2014 et 2016. Leurs expositions collectives récentes incluent : Condo London (Rob Tufnell) 2018, The Revolutionary Suicide Mechanised Regiment Band, Rob Tuf- nell (Cologne) 2016, Corruption Feeds, Bergen Kunsthall, Make the Living Look Dead, 2nd Cannons Project Space, Los Angeles, Ruin Lust, Tate Britain (2014), Keywords, INIVA et A journey through London’s subculture, the ICA à Old Selfridges Hotel, Londres (2013). Leurs expositions précédentes incluent des présentations monographiques à White Columns, New York (2005) ; The Approach, Londres (2004, 2002 et 1999) et au Modern Institute, Glasgow (1999). Le travail d’Inventory a été présenté également lors d’expositions collectives à De Appel, Amsterdam (2008) ; Kunstverein Hamburg (2007) ; Museum of Contemporary Art, Belgrade (2007) ; Kunsthaus Dresde (2006) ; Aspen Art Museum (2006) ; Portikus, Francfort (2004) ; Whitechapel Gallery, Londres (2003); Lenbachhaus, Munich (2002); the Courtauld Institute of Art, Londres (2001); the ICA, Londres (2003 et 1999) ; Cubitt, Londres (1997) et au Musée d’Art Moderne de la Ville de Paris (1996). Leurs œuvres figurent dans les collections du Centre Pompidou Paris et de la Tate Gallery Londres. Inventory est représenté par la galerie Rob Tufnell.

Exhibition view, Giselle's Books, A doctrine of scattered occasions, INVENTORY, 2021
Exhibition view, Giselle's Books, A doctrine of scattered occasions, INVENTORY, 2021
Exhibition view, Giselle's Books, A doctrine of scattered occasions, INVENTORY, 2021
THUGS, 2021 UV print on dibond, mounted documents and photos on hardboard 100 x 70 cm each
Elephant, 2021 UV print on dibond, mounted documents and photos on hardboard 100 x 70 cm each
Exhibition view, Giselle’s Books, Marseille A doctrine of scattered occasions, INVENTORY, 2021
Marquess, 2021 UV print on dibond, mounted documents and photos on hardboard 100 x 70 cm
Comply, 2021 Print on blue back paper 100 x 70 cm
Donne, 2006 B&W print on paper 100 x 70 cm
Exhibition view, Giselle's Books, A doctrine of scattered occasions, INVENTORY, 2021
Exhibition view, Giselle's Books, A doctrine of scattered occasions, INVENTORY, 2021
Exhibition view, Giselle's Books, A doctrine of scattered occasions, INVENTORY, 2021
9,000 BODIES, 2015 Print on blue back paper 85 x 59 cm
Histoire d’une forteresse, 2021 Laser cut on plywood and mounted B&W photography 90 x 60 cm
Equation, 2014 Framed silkscreen print 71,5 x 51,5 cm
CONVERT AUSTERITY INTO ACTION, 2015 Print on blue back paper 85 x 59 cm
Circles, 2021 Framed digital print 51,5 x 61,5 cm
Fist, 2015 Print on blue back paper 59 x 85 cm
Diatom and platic cup, 2021 Framed digital print 22 x 30,5 cm
Stevinus sisyphus, 2015 Print on blue back paper 85 x 59 cm
Wholesale and Foodbank, 2021 Framed digital print 22 x 30,5 cm
Landfill and Longbarrow, 2021 Framed digital print 31,5 x 41,5 cm
Elimine Iluminae, 2016 Print on blue back paper 42 x 59 cm
Kapitalistischer Realismus, 2014 Framed silkscreen print 51,5 x 71,5 cm
Exhibition view, Giselle’s Books, Marseille A doctrine of scattered occasions, INVENTORY, 2021
The later years of Inveterate Agitator, 2021 Collage (collected poster paper, letraset) and plexiglas 99 x 140,5 cm
The later years of Inveterate Agitator, 2021 Collage (collected poster paper, letraset) and plexiglas 99 x 140,5 cm
Exhibition view, Giselle’s Books, Marseille A doctrine of scattered occasions, INVENTORY, 2021
Touch, 2021 UV print on dibond, mounted documents and photos on hardboard 100 x 70 cm
Exhibition view, Giselle’s Books, Marseille A doctrine of scattered occasions, INVENTORY, 2021
The mystique of numbers, 2021 UV print on dibond, mounted documents and photos on hardboard 100 x 70 cm each
Exhibition view, Giselle’s Books, Marseille A doctrine of scattered occasions, INVENTORY, 2021
Exhibition view, Giselle’s Books, Marseille A doctrine of scattered occasions, INVENTORY, 2021
Categories, 2021 Framed laser print 22,5 x 31,5 cm
The work of thieves, 2014 Framed silkscreen print 51,5 x 71,5 cm
TLS, 1998 Framed newsprint 41,5 x 51,5 cm
Exhibition view, Giselle’s Books, Marseille A doctrine of scattered occasions, INVENTORY, 2021
Inventory Archive, 2021
Inventory Archive, 2021

ARCHIVE

Running as if to meet the moon – Thierry Basile, Clarice Calvo-Pinsolle, Florent Dubois, Gaïa Vincensini, 28.09.2019, Giselle · Toulouse

Running as if to meet the moon

Thierry Basile, Clarice Calvo-Pinsolle, Florent Dubois, Gaïa Vincensini

28.09.2019
Giselle · Toulouse

Installation view, Running as if to meet the moon, with : Thierry Basile, Clarice Calvo-Pinsolle, Florent Dubois, Gaïa Vincensini at Giselle, 2019
Installation view, Gaïa Vincensini in Running as if to meet the moon, Giselle, 2019
Installation view, Gaïa Vincensini in Running as if to meet the moon, Giselle, 2019
Installation view, Florent Dubois in Running as if to meet the moon, Giselle, 2019
Installation view, Florent Dubois in Running as if to meet the moon, Giselle, 2019
Installation view, Running as if to meet the moon, with : Thierry Basile, Clarice Calvo-Pinsolle, Florent Dubois, Gaïa Vincensini at Giselle, 2019
Installation view, Thierry Basile in Running as if to meet the moon, Giselle, 2019
Installation view, Thierry Basile in Running as if to meet the moon, Giselle, 2019
Installation view, Thierry Basile in Running as if to meet the moon, Giselle, 2019
Installation view, Thierry Basile in Running as if to meet the moon, Giselle, 2019
Installation view, Clarice Calvo-Pinsolle in Running as if to meet the moon, Giselle, 2019
Installation view, Clarice Calvo-Pinsolle in Running as if to meet the moon, Giselle, 2019

ARCHIVE

At the local repair – Sarah Rosengarten, 25.07 – 26.08.2019, Giselle · Toulouse

at the local repair

Sarah Rosengarten

25.07 – 26.08.2019
Giselle · Toulouse

Written about before* is the loss of language when traveling one’s own body. How-to is this daily and weekly, maybe less so longterm enigma to explore. Although, can I formulate this as a goal(?) when it spooks me too much to loose my ability to speak; as I anyways mostly search for it. Is anxiety my bodybuilding?? You do know athletic activity comes in many forms. So I really can. Throw myself into work-out – check my lack indicating greater muscle to come – roam my own self – ultmately approximating new landscapes ?
(…)

 
Most eggplants have a bitter-tasting surface. For lunch I sliced one up and roasted it. I ate the slices with the skin and it was truly bitter. I ate 5, .. way-y too many, before deciding to peel.

(…)

The story that the cosmetic brand Avène is basing it’s successful development on, is that of a horse with a skin disease, freely wandering around in the slopes of the Pyrenees. The horse finds the spring of St. Odile and rolls around in the water, drinks from it and is soon cured entirely. The spring became a Spa, the Spa became a skin treatment facility, the facility now has a hotel attached which resembles in it’s architectural appeal an over-polished spaceship. Altogether it’s called ‘Avène Thermal Station’. Most frequent visitors are older women and children with psoriasis and eczema, probably due to the fact that the minimum length of stay is 6weeks. The place is constantly surrounded by herds of butterflies which the director of the placecalls ‘too much’.
(…)

hmmm…..to spend a couple of hours.

 

text : Sarah Rosengarten

Installation view, at the local repair, by Sarah Rosengarten at Giselle, 2019
Installation view, at the local repair, by Sarah Rosengarten at Giselle, 2019
Endless Walks, 2019 2 aluminum framed C-prints, edition of 4 31,7 x 24,3 cm
Endless Walks (detail), 2019, 2 aluminum framed C-prints, edition of 4, 31,7 x 24,3 cm
Endless Walks (detail), 2019, 2 aluminum framed C-prints, edition of 4, 31,7 x 24,3 cm
precise act (detail), 2019 Dyed shower curtain, 60 x 70 x 200 cm
precise act (detail), 2019 Dyed shower curtain, 60 x 70 x 200 cm
a certain number of operations – quadruple flirt, 2019, Customised plastic drinking cup, glass straws, 9 x 9 x 24 cm
a certain number of operations – quadruple flirt (detail), 2019, Customised plastic drinking cup, glass straws, 9 x 9 x 24 cm
Installation view, at the local repair, by Sarah Rosengarten at Giselle, 2019
Installation view, at the local repair, by Sarah Rosengarten at Giselle, 2019

ARCHIVE

Baba Yaga Dom – Hélène Boutonnet, 09.07 – 23.07.2019, Giselle · Toulouse

Baba Yaga Dom

Hélène Boutonnet

09.07 – 23.07.2019
Giselle · Toulouse

Installation view, Baba Yaga Dom by Hélène Boutonnet at Giselle, 2019
Installation view, Baba Yaga Dom by Hélène Boutonnet at Giselle, 2019
Installation view (detail), Baba Yaga Dom by Hélène Boutonnet at Giselle, 2019
Installation view (detail), Baba Yaga Dom by Hélène Boutonnet at Giselle, 2019
Installation view (detail), Baba Yaga Dom by Hélène Boutonnet at Giselle, 2019
Installation view (detail), Baba Yaga Dom by Hélène Boutonnet at Giselle, 2019
Installation view (detail), Baba Yaga Dom by Hélène Boutonnet at Giselle, 2019
Installation view (detail), Baba Yaga Dom by Hélène Boutonnet at Giselle, 2019
Installation view (detail), Baba Yaga Dom by Hélène Boutonnet at Giselle, 2019

ARCHIVE

État de nécessité – Haydée Marin Lopez, 19.06 – 08.07.2019, Giselle · Toulouse

État de nécessité

Haydée Marin Lopez

19.06 – 08.07.2019
Giselle · Toulouse

Installation view, État de nécessité by Haydée Marin Lopez at Giselle, 2019
Installation view, État de nécessité by Haydée Marin Lopez at Giselle, 2019
Installation view, État de nécessité by Haydée Marin Lopez at Giselle, 2019
Installation view (detail), État de nécessité by Haydée Marin Lopez at Giselle, 2019
Installation view (detail), État de nécessité by Haydée Marin Lopez at Giselle, 2019
Installation view (detail), État de nécessité by Haydée Marin Lopez at Giselle, 2019
Installation view, État de nécessité by Haydée Marin Lopez at Giselle, 2019
Installation view, État de nécessité by Haydée Marin Lopez at Giselle, 2019

ARCHIVE

l’aquarium – Amanda Fort, 16.05 – 02.06.2019, Giselle · Toulouse

l’aquarium

Amanda Fort

16.05 – 02.06.2019
Giselle · Toulouse

installation view, l'aquarium by Amanda Fort at Giselle, 2019
installation view, l'aquarium by Amanda Fort at Giselle, 2019
installation view (detail), l'aquarium by Amanda Fort at Giselle, 2019
installation view (detail), l'aquarium by Amanda Fort at Giselle, 2019
installation view (detail), l'aquarium by Amanda Fort at Giselle, 2019
installation view, l'aquarium by Amanda Fort at Giselle, 2019
installation view (detail), l'aquarium by Amanda Fort at Giselle, 2019
installation view, l'aquarium by Amanda Fort at Giselle, 2019

ARCHIVE

Les Complaintes de Maryse – Camille Brêteau, 12.04 – 28.04.2019, Giselle · Toulouse

Les complaintes de Maryse

Camille Brêteau

12.04 – 28.04.2019
Giselle · Toulouse

Installation view, Les complaintes de Maryse by Camille Brêteau, at Giselle, 2019
Installation view, Les complaintes de Maryse by Camille Brêteau, at Giselle, 2019
Installation view (detail), Les complaintes de Maryse by Camille Brêteau, at Giselle, 2019

ARCHIVE