like that. It’s a bit like when you start thinking about what’s beyond the universe, beyond what we can observe. It causes a feeling similar to losing your balance.

Céline Boisserie-Lacroix: And maybe a feeling of the unknown, vertigo… as Pascal would think.

Aurore Young: Yes. Okay, so we wanted to go back to emotions, but I don’t remember how.

Caroline Delétoille: Maybe by going back to my work. I use the human figure because it moves me, and it also conveys emotion to the viewers. They can iden-tify, relate to the object, and that’s really what I’m looking for when I develop a subject. And it’s also we found interesting: a way of capturing the strangeness of quantum physics, intuitively.

Aurore Young: Yeah, maybe this is a good way to convey a quantum concept, because if people can really identify with it, it’ll become more understandable, with intuitions.

Caroline Delétoille: On the subject of understanding concepts, there’s a lot to say. The artist Luis Camnitzer is very interesting. He explains that at one point in his work, he removed the images and kept only the words, as if the words them-selves conveyed great emotions, in another way. Maybe emotions can be conveyed through images with which we identify. Céline, you can tell us more.

Céline Boisserie-Lacroix: Early in the project for the exhibition, we wanted to convey something about the way quantum physics pushes us to look at the world, its uniqueness. Can you develop the parallel with memories, how that relates to your work?

Caroline Delétoille: When we thought about how this principle of quantum obser-vation could be translated to speak to people, memory was a topic that naturally came up because it’s one of my main research areas. Memory is subjective; mem-ories change slightly each time we think about them. Every time we think of the same memory, we refine it and gradually reconstruct a clearer image of what happened that day, at that exact moment.

That led us to provide an archetypal scene, an anonymous shared memory, for this exhibition. Visitors could then experience something that would resonate intimately with them, moving them, a bit like in cinema. It would work as a par-allel with the process followed by quantum physicists during their measurements and observations.

For that, we collaborated with the Nicéphore Niépce Museum of Photography. We talked with them about the archives they had, about scenes that could be interesting. We went through many images until we found this capture of a fam-ily lunch that had a kind of strangeness to it. I like strangeness because it sparks interaction, a reaction. When an image is strange, you ask, “What? What’s going on?”. This questioning creates a relationship with the image.

Aurore Young: We like strangeness. Otherwise, we wouldn’t be so interested in understanding it.

Céline Boisserie-Lacroix: It’s a bit like Freud’s expression, the “uncanny”. Everyday objects, usually very common, can sometimes seem strange or even unsettling to us.

Caroline Delétoille: Yeah, I think strangeness creates a little shift, at some point. So in the end, we chose this family scene, where we didn’t quite understand what was going on. Then the Niépce Museum also came up with the idea of an archive