Léa Porré | IceBlink Luck at Generation & Display (2024)

IceBlink Luck is an exhibition that brings together works by artists Rebecca Halliwell-Sutton, Louise Oates and Léa Porré, curated by Kollektiv Collective. Laying bare distinctive temporal loops, it maps human environmental imprints across time, addressing the inaccuracy of a simplistic reading of time as linear. Within the slowly unfolding climate catastrophe, IceBlink Luck resorts to the tradition of science fiction, leaning on the genre’s potential to reconcile past, present and future, ultimately in attempts to grapple with the unknown.

Reimagining the space of Generation & Display as the surface of a distant planet haunted by memories, or hallucinations, of a human past, IceBlink Luck dissolves temporalities, entwining future relics with historic novelties. In so doing, the exhibition visualises the malleability of time. In a 2011 article Ursula K. Le Guin noted that she “learned a lot from reading the ever-subversive Virginia Woolf.” She recalls reading Orlando at the age of 17, and her fascination with the feeling of “the marvellous strangeness of that moment five hundred years ago – the authentic thrill of being taken absolutely elsewhere.” In search of this feeling, the exhibition aims to confront the now by envisioning an alien future inhabited by fragments of the familiar. In it, Rebecca Halliwell-Sutton’s work loops in perpetual movement, reverberating cyclically through time and memory; Louise Oates’s sculptures resemble archaeological sites unearthing extraterrestrial traces within the permafrost; and Léa Porré’s transhistorical artefacts shine like a dream of our home planet, skewed in light-years, gothism now digital, the old echoing the new.

Louise Oates by Vex Noir

Rebecca Halliwell-Sutton & Louise Oates by Vex Noir

Reimagining the space of Generation & Display as the surface of a distant planet haunted by memories, or hallucinations, of a human past, IceBlink Luck dissolves temporalities, entwining future relics with historic novelties. In so doing, the exhibition visualises the malleability of time. In a 2011 article Ursula K. Le Guin noted that she “learned a lot from reading the ever-subversive Virginia Woolf.” She recalls reading Orlando at the age of 17, and her fascination with the feeling of “the marvellous strangeness of that moment five hundred years ago – the authentic thrill of being taken absolutely elsewhere.” In search of this feeling, the exhibition aims to confront the now by envisioning an alien future inhabited by fragments of the familiar. In it, Rebecca Halliwell-Sutton’s work loops in perpetual movement, reverberating cyclically through time and memory; Louise Oates’s sculptures resemble archaeological sites unearthing extraterrestrial traces within the permafrost; and Léa Porré’s transhistorical artefacts shine like a dream of our home planet, skewed in light-years, gothism now digital, the old echoing the new.

With Louise Oates & Rebecca Halliwell-Sutton

Works shown:

• Tis the ending of all moist things (2024)

• Sunsets of Permadeath (2023-4)

• Tis the beginning of all moist things (2022)