Mary Mary is proud to present a group exhibition curated by Glasgow – based painter, Hayley Tompkins. The exhibition comprises recent works by Anne-Marie Copestake (UK), Karla Black (UK), Ernst Caramelle (Austria), Joachim Koester (Denmark), Helen Mirra (US), Bojan Sarcevic (France). Alongside reprinted Documents and Editions by Sanja Ivekovic (Croatia), Paul Thek (US) and Edwin Klein (Dutch) and a film by Jacques Rivette (France).

Included within the exhibition is a reading area, comprising a reprinted set of Document 2 & 3 by Paul Thek and Edwin Klein (1973), a pair of editions by Sanja Ivekovic, ‘Double Life’ and ‘Tragedy of a Venus’ (1975-78). The film ‘Celine and Julie go Boating’ (1974) by Jacques Rivette, with its ambivalent, elusive structure will be played throughout in the gallery. The film itself projects a colourful method of doubt, providing a moving, loose form of narrative collecting around the works in both rooms.

To connect the ten individual practices, here is the idea of the document, the recall, or revisit. A process of remembering, or a something or situation being recounted – a looking back and forth. The ‘tele’ in the title talks in the vernacular, but can allude to its literal translation, meaning faraway or distant. The choice of artists brings this private narrative process closer as they appear to discuss the nature of contingencies and change, often re-forming and referring to other modes of representing outside of themselves.

Like the two female leads in Rivette’s film who insert themselves into their own story, the works brought together here move lengthways in their search for meanings that go beyond the personal to somewhere more anonymous and roomy. Referencing the real, the imagined, the recent past, they bring a philosophical play of comparability and incomparability to the viewer’s attention.

One intention for the exhibition is to communicate the experience of seeing and feeling and disputing their differences. Being an extract itself, the exhibition opens outwards to contain and admit the world it refers to. The ‘planting’ in the title of the show represents this on-going positive, organic activity and the gentle imbedding of alternate means of artistic production. Or in another way – its continual replanting.