Through a sensory approach, this exhibition immerses visitors in a world where artworks — sometimes deceiving — awaken curiosity and contemplation.
At the entrance of the exhibition, the eye calls upon the hand. Visitors are greeted by a vibrant interplay of colors and textures, immediately evoking the desire to touch. But caution is advised — these works challenge perception and play with the illusions that materiality can create. Daniel Pommereulle, Éric Baudart, Letha Wilson, and Dave Hardy manipulate materials and forms in ways that surprise us and heighten our senses.
As the journey unfolds, matter becomes more organic, and the works invite deeper introspection. Rachel de Joode and Thibault Hazelzet explore our relationship with the human figure and the body, their sculptures oscillating between fascination and unease. Anita Molinero, in turn, exposes the raw essence of matter, transforming repulsion into beauty — and vice versa.
On the first floor, Kendell Geers’ Long Walk to Freedom (2025) creates a passage between the tangible and the intangible, bridging one realm to another. Inspired by Barnett Newman’s Stations of the Cross, the work echoes the Passion of Christ, prompting viewers to reflect on both human suffering and the realities of the contemporary world.
At this point, the exhibition ventures into the realm of the immaterial and the imaginary. Midway through, Isabelle Le Minh’s photographs open windows into another dimension. These images transport us into an ethereal, ungraspable space, where the boundaries of reality seem to dissolve. Meanwhile, SMITH’s photographic work captures the fleeting and seeks to make the invisible visible, while the shadows and specters in Hélène Delprat’s pieces appear to escape their frames...
The exhibition continues with the works of Nancy Brook Brody, whose geometric and fragile compositions transform abstraction into a meditation on the unseen. In dialogue with Georges Noël’s monumental Cosmogonie solaire, these works invite spiritual and metaphysical contemplation, dissolving the limits of space and time.
Finally, Edith Dekyndt offers a moment of suspended, dreamlike reverie. This final chapter of the exhibition once again poses a question to the viewer: Does the intangible have a texture? Or perhaps more profoundly: How can we make visible and tangible that which escapes us?