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The exhibition hopes to reveal the commonalities\, myste rious to this day\, that connect two regions\, London and the Lake Geneva r egion\, despite their geographical distance. Organised according to a speci fic typology - adverts\, inserts\, covers\, titles\, headlines - it gathers a heterogeneous mix of artists. While brandishing its authoritative banner \, this conservative organisation hopes\, paradoxically\, to allow artistic projects to show their uniqueness in their particular relation to the medi a. In this stratification\, writer James Graham Ballard's work weaves a lei tmotiv through these central and peripheral intrigues.

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W hereas some of Adam McEwen's paintings alternate between abstraction and fi guration\, despicable everyday life and air traffic disasters\, Francis Bau devin's abstractions upturn the dream of transforming the mundane through a rt\, borrowing the graphic compositions of everyday products' packaging\, f rom the kitchen to the first-aid box. Jeremy Deller's indexing processes (f olk collection\, reenactment) have little to do with Philippe Decrauzat's p erceptive processes. Both artists\, however\, share the concept of "dehiera rchisation" and "declusterisation" of culture into a constellation within w hich both artists drift - from montage to montage - to unveil unknown stori es. Nearby\, whether nurturing an environmental concept of painting or brin ging it to his doorstep\, Stéphane Dafflon experiences art's stylistic elas ticity. The exhibition could borrow the slogan "Yes To All"\, a phrase part icularly close to Sylvie Fleury's heart\, which aims to conceive art in a b lurry opening on to consumerism and underground practices as many subjectio n and emancipation processes\, while Scott King weakens "diagrammatical" au thority through various discursive strategies.

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Writer J. G. Ballard (1930-2009) is often associated with the "science fiction" genr e - a labelling to be handled with care. The term "science fiction" enters everyone's vocabulary as early as the late 1920's with the very popular pul p magazines. The launch of Sputnik in 1957 and the live transmission on tel evision of Kennedy's assassination in particular have motivated Ballard to redefine the relation between science fiction and imagery.

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Amongst photocopy collage experiments (Project For A New Novel\, 1958) and the first dummy advertisement as an insert in the Ambit ma gazine (1967)\, the novel The Drowned World (1962) depicts a world set in 2 040\, oppressed by an increased global warming. In a mobile biological test ing station a couple\, Kerans and Beatrice Dahl\, strive to enjoy their pas sionate love amidst physiological upheaval\, emergency and natural disaster . This novel unfolds along the principle of reversal. Here\, narrator Keran s hypothesises that a painting by Max Ernst can influence the moods of its owner\, the beautiful Beatrice. Elsewhere\, the advancing drowning alters a ll taxonomies. On this point Bodkin\, a colleague of Kerans's\, posits\, "I 'm convinced that as we move back through geophysical time so we re-enter t he amniotic corridor and move back through spinal and archaeopsychic time . .. a total reorientation of personality". Civilisation would go back up the course of evolution\, in other words\, an "entropy".

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Wi th this same reversal principle\, Ballard has fundamentally redefined scien ce fiction by redirecting the focus usually on outer space towards the dept h of the soul. Following the principle of generalised reversal\, Ballard al so re-established the connections between art and reality. Just as Max Erns t's landscape exerts an influence on Beatrice's temperament\, so do the wor ks in the exhibition described in The Atrocity Exhibition testify to the ubiquitous global cataclysm as the artists and patients are clearly af fected by the nursing staff's general depression. The external landscapes a re therefore the reflection of the internal catastrophe. At the same moment \, Travis\, a character of many names\, gathers various images in turn scie ntific\, surrealistic and of disasters.

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"For the first time [in the 1960s] t he public dream of Hollywood and of the spectator's private imagination ove rstimulated by television have merged into one."

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Conscious of the falsificat ion of the world submerged in media hyperrealism\, Ballard relentlessly des cribed this loss of reality in order to build a variety of poetic sy stems. In The Atrocity Exhibition\, Travis attempts to make h is wife's body coincide with that of a TV celebrity. Talbot follows a bombe r pilot up to a "tableau sculpture representing a Saigon street execution"\ , "a labyrinth of billboards".

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The same year\, the write r creates The Assassination Weapon (1969)\, an exhibition at the Lon don ICA\, the programme of which announces a "performance [or] a transmedia search 'for reality'"\, "an extraordinary sound-and-image theatre presenta tion" where "a rotating circular screen catches the sliding images of Balla rd's narrative\, mixing ... fantasy/fact elements of inner and outer realit y" in "a kaleidoscope of fact and fiction" for "a meditative experience". T he following year\, he presented a second exhibition\, "New Sculpture" at the New Arts Laboratory Gallery (London)\, displaying a series of cra shed cars. The writer describes this exhibition as a scientific experiment challenging the viewer with a car crash\, a phenomenon involving the most a dvertised commercial product. In his famous The Mechanical Bride. Folklo re of Industrial Man (1951)\, looking at media production\, Marshall Mc Luhan compares the discontinuity of articles on a first page of the New York Times with that of Picasso and Joyce and calls it "one thousand an d one nights entertainment". About the media\, Ballard would have easily ag reed with McLuhan on conceiving it as "a phantasmagoria" halted for contemp lation.

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Dur ing Frieze week\, BISCHOFF/WEISS will be open at the following times:

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Wednesday 3rd: 9.3 0am - 7pm

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Thu rsday 4th: 10am - 7pm

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Friday 5th: 10am - 7pm

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Saturday 6th: 10am - 6pm

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DTEND:20121117 DTSTAMP:20141229T075545 DTSTART:20121004 GEO:51.5090703;-0.143644 LOCATION:Bischoff/Weiss\,14a Hay Hill \nLondon\, W1J 8NZ SEQUENCE:0 SUMMARY:Advert\, Insert\, Cover\, Headline\, J.G. Ballard\, Francis Baudevi n\, Stéphane Dafflon\, Philippe Decrauzat\, Jeremy Deller\, Sylvie Fleury\, Scott King\, Adam McEwen UID:238403 END:VEVENT BEGIN:VEVENT DTEND:210000 DTSTAMP:20141229T075545 DTSTART:180000 GEO:51.5090703;-0.143644 LOCATION:Bischoff/Weiss\,14a Hay Hill \nLondon\, W1J 8NZ SEQUENCE:0 SUMMARY:Advert\, Insert\, Cover\, Headline\, J.G. Ballard\, Francis Baudevi n\, Stéphane Dafflon\, Philippe Decrauzat\, Jeremy Deller\, Sylvie Fleury\, Scott King\, Adam McEwen UID:238821 END:VEVENT END:VCALENDAR