Upcoming exhibition
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Charline Dally, le disque de poussière (2023), thermoformed glass
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THIS WOMB OF THINGS TO BE
Charline Dally 02.05 - 15.06 Opening - 05.02 at 6 p.m. “still there are seeds to be gathered, and room in the bag of stars”[1] Combining a scientific approach with a poetic reflection, Charline Dally's work attempts to decipher the messages engraved on lunar stone fragments dating back hundreds of millions of years. this womb of things to be is intended as a receptacle for an archaeology of the future, a geological excavation on an infinitesimal scale to rethink our relationship with minerals and, more generally, with living things. le disque de poussière combines scientific archive documents, 3D modelling and commentary by Hugues Leroux, astromineralogy researcher, and Anne-Marie Blanchenet, engineer. The film shows these geolinguists[2] as their attempts to interpret the information engraved in the stone come up against the limits of their technological tools. While microscopic observation of meteorite particles enables us to understand their structure, it also reveals the fragility of the message engraved in the material, in the form of lines and curves that evolve with impacts and thermal changes. The images in these writings come alive to refute the inert nature of the mineral: the water present in the universe infiltrates these wounds and sutures them with its healing properties. Inspired by this resilient behaviour, Charline Dally proposes a semantic study to translate, read and then narrate the stories of the dust that underlies the creation of the solar system, revealing the experience of what appears to us to be frozen, movement within the fixity. To further immerse us in this intimate installation of floating fabrics, the room is interspersed with a series of mica arranged on organically shaped seats. These entities require attentive listening to their silent prose. Reminiscent of Ursula K. Le Guin's theory of the recipient, the gallery’s space contains this womb of things to be, a glass sculpture whose water-filled fissures allude to body memory and the phenomenon of healing, facilitated by the percolation of water in the interstices. Finally, musical arrangements, to be listened to in a jukebox evoking the multiple possible interpretations of a mineral score, and archives of microscopic views add to the varied and sensitive body of work that Dally arranges to engross us in her universe. Whether confronted with a temporality all too fleeting for the human mind, or with vertiginously abstract measurement units, or with the challenge of grasping forthcoming exobiological discoveries, the exhibition summons our humility for overcoming the complexity of reality and for cohabiting, becoming-with[3], together. Time carves, shapes, contains traumas, and heals them, too. [1] Ursula K. Le Guin, “The Carrier Bag Theory of Fiction”, Dancing at the Edge of the World, Grove Press, New York, 1989. [2] Ursula K. Le Guin, “The Author of the Acacia Seeds”, The Compass Rose, Harper Perennial, New York, 1982. [3] Donna J. Haraway, Staying with the Trouble: Making Kin in the Chthulucene, Duke University Press, Durham and London, 2016. |