The viewer is invited to walk through a memory that could be their own, to actively reconstruct the memory scene, to retrace part of the experimental jour-ney of quantum physics researchers, notably at the Kastler Brossel Laboratory of the Collège de France, where Caroline Delétoille undertook an artistic resi-dency. It involves observing atoms “trapped” by optical tweezers, made visible on a screen to examine their evolution over time. By exploring the tension between the strangeness of the quantum world and the familiarity of memory, provoking an immersion in this infinitesimal that constitutes us. This immersion is further facilitated by the exhibition’s sound ambiance evoking the quantum world, com-posed by artist Max-Louis Raugel.

Punctuating the walk, clouds painted on survival blankets recall the world of the physics laboratory in two ways. Very literally, this material is usually found in quantum laboratories for its insulating properties. In a more metaphorical way, the clouds poetically refer to the current representations of the atom in the form of an electronic cloud. These clouds were painted by Caroline Delétoille based on a series of photographs by Peter Knapp, reinterpreted with his permission.

Around this central room, several artistic proposals are articulated, each offer-ing a different interpretation of quantum physics. A first installation features images of an early female Instagrammer ahead of her tim, self-portraits taken by an unknown woman in the 1940s, which Caroline Delétoille has reappropri-ated through digital work in continuity with her silkscreen works. The unknown woman reveals herself through the photographs, serving as an introduction before exploring the main exhibition room dedicated to the memory scene.

Upon exiting this room, a more concrete dive into the laboratory universe is pro-posed. Various elements collected by Caroline Delétoille during her residencies at the Kastler Brossel Laboratory in Paris and the Quantum Matter Institute in Vancouver are displayed in the manner of an ethnographic museum. They echo the pioneering work of laboratory immersion conducted by Latour and Woolgar, recounted in their book Laboratory Life (1979). Here, the spectacular machines give way to the cast-offs of experimental research: drafts, small tools, coffee counting systems... seemingly mundane objects that nonetheless reveal the laboratory’s universe, where makeshift solutions coexist with cutting-edge equipment and where touches of humor appear incidentally.

During her residencies, Caroline Delétoille also sketched and painted on the spot—for a moment, the laboratory became an atelier. A few researchers posed for her; they appear on sheets they have scribbled on, forming palimpsests where equations and more personal thoughts intermingle. The exhibition path ends with a video by Chadi Abo, a psychedelic epic in which the reconstructed memory scene appears.

Ultimately, we hope this exhibition will be “diffractive” in the (metaphorical) sense25, where, resulting from a crossing of knowledge and practices, it invites a renewal of perspectives, a “quantum sensation” experience whose veil will have been partially lifted.