As an alternative to the prevailing institutional theory of the time (we're in the late 70s), the philosopher Jerrold Levinson proposed to speak of 'genetic context' to define what works of art are. Coldly, the chronological 'kinship' between art objects would delimit their domain of existence: what defines an object as a work of art is its 'resemblance' to objects already considered as such (more precisely: the similarity with which our gaze rests on these objects in order to appreciate them) and which precede it in a grand narrative making up the History of Art.

The role of an exhibition might then be to experiment and sketch out new 'heredities'; not so much in a linear, predictable way (as the opening of this press release implies), but perhaps rather through the maintenance of symbiotic relationships between complementary, synchronic objects.

Ronde Sable' is not a duo exhibition, but develops from individual works a web of relationships between images and objects, sometimes co-existing by necessity or proceeding by causality. Whether it's undoing the folding of one, or sanding the paint off a frame of the other, the gestures and works created by Aurélien Mole and Christophe Lemaitre empirically extend, correct and stutter their sources. The exhibition thus cultivates the field of a developing arborescence, where wallpaper sculptures are rotated, two works decide to occupy the same frame, and domestic knots of string, left in abeyance by the death of their author, are reinvested by photography.