“Reversibility: A Theatre 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, 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 Theatre 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.” – Pierre Bal-Blanc
Published at the conclusion of a cycle of exhibitions that took place over the course of four years, the catalogue Reversibility: A Theatre 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.