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Guillaume Valenti's latest paintings take the exhibition space as their subject and give him the opportunity to reflect on the limits, rules and methods of the medium. He composes these paintings by taking into account what usually constitutes the off-field of images. The objects thus arranged in the luminous and geometric space of the White Cube are activated by their contexts, their peripheries. These paintings are elaborated from several photographic documents, personal or discovered on the internet. The sites dedicated to the referencing of museum and gallery exhibitions are now numerous and their updates incessant. After having gathered his documentation, the source images are transformed, so that only the walls remain, stripped of their initial content. In the course of the painting, objects make their appearance. It is a fiction, a mental space, which intertwines purely pictorial issues with a reflection on the new condition of images. Recently, these claustrophobic spaces have given way to open spaces, surrounded by nature. The idea is to articulate an image around a central void, a stripped-down scenography staging different strategies of monstration. Guillaume Valenti's project consists of a series of paintings, around this new theme, and is conceived as a mise en abîme of the stand itself while allowing variations at several levels. Variations in format, chromatic and formal variations, like so many realities passing through the filter of the pictorial process. A question naturally emerges: how does the image live in our real world after its absorption by the digital? Guillaume Valenti's paintings address this question via the question of the reproducibility of images, in a world where successive mise en abime become the landscape, where the real image begins and ends in this stream of ersatz.