What the works want, we want to hear and ensure that the visitors of this exhibition can also be attentive to it, even if it is difficult to guide oneself. between this desire to touch what attracts or questions us and the often unstable position of the spectator accustomed to keeping a certain distance, verified by a scenography as explicit as the looks of the supervisors. If its presentation pushes the work to slip away, how can we meet its reality, its movement, its formal genealogy, its present life and the time that unites us? “Please touch” we read in the 1960s, for works that are all the more untouchable today because their presentation itself does not allow the quiet admission of an enviable form of vulnerability. We have always stressed the advantage of designing exhibitions in a space close to that of the apartment where the relationship to the works is more relaxed. Each artist adds here to this idea of ​​living with works whose image matters less than the feeling of perceiving a strong presence and existence, to which we respond in many ways.

AM: That it is not a theme but an ethic seems important to me. The staging of "taking care" is far too demonstrative, whereas, fundamentally, it must be so integrated into our relationships with artists, works and the other that it becomes indistinguishable. At the heart of this disposition to take care, there is the notion of attention which seems to me to be, from my point of view, the most important attitude. Attention is both the starting point of everything that will follow but also a result: that of an openness to the world. In Gino Sarfatti's practice, the idea of ​​a lamp usually starts from the shape of a light bulb or neon.

From an industrial object, perfectly functional but addressed to no one in particular, it is for Gino to think of forms capable of welcoming and highlighting the formal and luminous characters of bulbs which then become inseparable from lamps. thoughts for them. These lamps are interfaces between the factory and the home. They use standardized light bulbs for specific activities such as reading, a dinner with friends, an evening. Trying to promote the conditions of attention also means reinforcing the impact that a work of art can have on our lives. It can be a hanging on the line like the one thought up by John Dewey and Albert C. Barnes for the latter's collection, it can be a signed mediation text, it can be this trip that we make to go and see specifically such or such work of art as the altarpiece by Matthias Grünewald or the house on the waterfall by Franck Lloyd Wright...

Attention is that moment when one merges and merges into the initial address of the work desired by the artist (whether one imagines it or not). At the heart of François Lancien-Guilberteau's practice there is a form of special attention. In his images, for example, the relationship to the model, the way of preparing it, counts as much as the moment of capture. It's as if all sentimental investment was oriented towards this off-screen image. As such, sharpening and making up are two actions that precede cutting and appearance. The make-up remover powder made up of dried droppings used to remove the toxic white lead from the face of the Geisha, has such a particular complexion that it appears the skin under the make-up.