by small cords attached to each end of the fluorescent toile de Jouy. Its playlets happen to be more provocative and satyrical than the ones that are traditionally displayed on such fabrics. Female figures are experimenting ancestral practices of torture with male figures, wearing ties and platform boots. Traditionally pastoral and domestic, these illustrations have only retained a few typical features such as pots, scythes, plant tufts, and cereal sheafs that have been diverted from their primary use. Cutouts of metal phosphorescent rose thorns are inserted in the flesh of the effeminate figures, as if the space had been reserved for them beforehand. Needles puncture the ulcerated orbits of the attending candidates, the fabric gently muffling their strident cries. As a mobile and luminous manifestation, the toile de Jouy laps the jagged ends of a wooded structure. The orographic stage (a circular piece which is made from a machine that automatically traces mountain shapes) provides a reproduction of (the) altimetric declivities of the Rhune (Pyrenees). The mountain summit coincides with the pedestrian reception area dedicated to public speaking. Angrily trampling the map where grottos have sheltered pagan celebrations involving a horned beast and cohorts of witches. Striking the French-Spanish border with pulsating consonants, spreading through the basaltic layers. Crushing black head Manech sheep, with curved horns, white fleece, and bulging udders, thereby putting an end to transhumance. The edification of the family of orientation tables, entirely made of wood marquetry using the technique known as Tarsia a incastro, is inlaid with imbricated tortoise shells. The room is devoid of any vertical embellishment. Only at the forefront, an old baptismal basin, adorned with profane decorations, disgorging flowers — pink, egg-plant, red and cream shades — of a specific bulbous variety, from the Iridaceae lineage, which is also named toile de Jouy. Redundancy.