The forms, mediums, spaces, are the starting point of Pascal Pinaud's proposal around a wandering created from the works. The idea of painting as a postulate gives the opportunity to bring together the work of artists and defines the context from the practices. Juxtaposition, cohabitation, the crossed readings that this hanging proposes assert a point of view questioning at the same time the modalities specific to each one in their relation to the others, and which would not be only decorative.
It is the idea of a walk in which the spectator takes part. The works, he knows them, recognizes them or discovers them, but he is more interested in them because their reading appears scrambled. A game of tracks, of forms, a history little by little takes shape. A circulation appears, spaces are transformed, an organic relation is set up, playing of the directions, allowing references, meetings, discoveries, winks.
A new complexity, even a permanent disturbance recreates spaces, new visual and conceptual approaches of the presented works. The spectator is drawn into this journey. By his wandering, his advance in the space, he recreates the environment to his liking.
The small story summons the big one, the story of each one meets those of the others, painting, photo, sculpture, video, installation, and finally, the sound, which comes to amplify, unite, assemble the whole.
The youngest play without complex with their elders. What counts is the relationship of meaning, the fiction, further intensified by the accumulation of works. Stéphane Magnin and Emilie Maltaverne create a new "Espace de rencontres temporaires", an opportunity for new crossings. Pascal Pinaud invites without complex young artists (Ludovic Sauvage, Sandrine Flury) to cohabit with others, whom he admires or respects (John Armleder, Noël Dolla, Bertrand Lavier). Mathieu Mercier, caught in the very game of the use that he develops accompanies essentially the reports to the space, to the slips, through transhistorical glances. Philippe Gronon, by stopped instants, and Pascal Broccolichi, whose intervention, like a sound sheet, acts as a binder, mark their own times, space-time which agree and are in tune with the whole. Pascal Pinaud intervenes in lightness. It is at the same time the exhibition of an artist with works that he would have liked to have created himself, and of a curator in this game of spatial, conceptual and historical organization.