“Bye Bye Memory” explores the fragility of memory and the unexpected ways in which it endures. Drawing on a photographic moment captured during her travels around the world—and more specifically in the Caribbean—Gaëlle Choisne assembles images as visual notes, fragments of thought, and sources of inspiration. These photographs, taken during her travels, reflect a focus on encounters, landscapes, details, and ordinary situations that make up a sensory experience of the world.

The work effect a shift: the image, typically destined for rapid circulation, oblivion, or erasure, is here transferred onto marble, a material associated with permanence, monuments, and commemoration. This act creates a tension between the ephemeral and the enduring. The fragment of existence depicted—intimate, subjective, sometimes trivial—takes on the presence of a contemporary memorial.

The slightly translucent print reveals the marble’s natural veining beneath the image. These mineral lines traverse the photograph just as time traverses memory: they disrupt its legibility, sometimes fragmenting it, but also anchoring it in a material depth. The material thus becomes an active participant in the work, bringing its own geological history into the very heart of the image.

What might have vanished in the ceaseless flow of images becomes a trace, a remnant, and a testimony. Yet the memory it evokes remains unstable: it transforms, cracks, and reassembles itself with the passage of time, through narratives, and through different perspectives. Marble does not guarantee the preservation of the past; rather, it reveals our desire to hold on to what slips away from us.

Through *Bye Bye Memory*, Gaëlle Choisne elevates the lived moment to the status of a monument and transforms her personal photographic archives into spaces of collective resonance. These travel images, initially conceived as visual notebooks, become witnesses to a memory in motion, where individual experience engages with broader narratives of circulation, displacement, and transmission.

The work thus invites reflection on how we construct our own emotional archives: modest monuments built from ordinary moments, where memory survives less as a fixed truth than as a sensitive, persistent, and ever-evolving presence. Between image and stone, between erasure and permanence, *Bye Bye Memory* opens up a space where memory reveals itself as much in what appears as in what remains buried.

Gaëlle Choisne will present the Frankfurt debut of her long-term project “Temple of Love” (2018-ongoing) and transform the historic Villa 102 into an art space. A meticulous collector of objects acting at the margins of photography, the artist weaves individual memories with social observations to create eclectic installations, videos and performances. Drawing on her personal history and French-Haitian heritage, Choisne’s works often delve into themes of self-healing, spirituality and social interaction. Choisne regards her artistic practice as part of a network of ideas and people, frequently engaging in collaborations and integrating literary and scholarly allusions into her work. For the “To Hide” edition of the long-term project “Temple of Love”, the artist once again refers to a chapter from Roland Barthes’ “A Lover’s Discourse: Fragments”. The site-specific installation takes on a new form with each presentation. Choisne developed the exhibition for the first time during her one-year residency at Künstlerhaus Bethanien, Berlin, in cooperation with KfW Stiftung.