The exhibition, Augmented Memories, explores memory as a field of permanent reinvention, where the past merges with the present through instruments, narratives, and landscapes. The exhibition features two artists with connections with Asia, Seunghwan Lee and Ludovic Nino, focusing on how memory is constructed, distorted, and enriched, either filtered by algorithms or anchored in the historical layers of territories.

Seunghwan Lee
Algorithmic landscapes : between data and reality.

Lee Seunghwan, artist from Korea, is exploring memory as a field of negotiation between reality and its algorithmic representation.
His work centers on hybrid practice, where in situ observation of landscapes – like those of the “Forêt de Fontainebleau” series (Forest of Fontainebleau” – is confronted with interpretations generated by artificial intelligence. By loading GPS coordinates and visual data into AI tools, the artist generates images that he then reworks with acrylic paint or drawing, creating works that fluctuate between documentary fidelity and digital distortion.
These landscapes, neither fully real nor entirely fictional, reveal the contradictions between what we perceive and what technology produces as a representation of our environment.

By revealing the visual artifacts and aesthetic choices of AI, Lee questions how our technological tools are reshaping our relationship with memory and territory.
His works turn into subjective maps, where intimate knowledge of places overlaps with interpretations shaped by algorithms, inviting viewers to question the reliability of their own perceptions.
For Lee, memory is not a data, but a dynamic construction, constantly reinvented through the lens of contemporary technologies.

Ludovic Nino
Crossed Roots : Colonial Memories and Plant Resilience.

Ludovic Nino addresses memory as a network of interconnected narratives, where landscapes become silent guardians of colonial histories and cultural resistance.

His new series, “Les Figuiers” (“The Fig Trees”), draws inspiration from the parallels he creates between the Caribbean and Taiwan, two territories shaped by complex colonial heritages.
Fig trees, with their invasive roots, become metaphors of the layers of memory that remain alive despite historical changes.
In his drawings made with ink, Nino overlays symbols of resistance from Maroon communities in the Caribbean with traces of Japanese colonization in Taiwan, where these trees symbolize both the oppression and resilience of local populations. His works perform as visual archives, where each fig tree carries fragments of narratives that are often marginalized or forgotten.

By portraying these trees simultaneously suffocating and preserving the vestiges of the past, Nino highlights how collective memory takes root in landscapes, transforming them into silent but persistent testimonies of cultural conflict and adaptation.
For Nino, memory is not simply a heritage: it’s a living process, where the past and the present constantly confront and reinvent each other.