In the brutalist architecture of Fosbury & Sons Boitsfort — imagined by Constantin Brodzki as an inhabited sculpture — 'Ce qui s’efface demeure' (What Fades Remains) explores the memory held within materials. Through canvas, jute, linen, and paper, the artists summon surfaces where gestures leave a trace, and where erasure becomes a form of revelation.
Juliette Lemontey works with old fabrics — worn linen and cotton sheets marked by time — where her faceless figures float like uncertain memories, suspended between appearance and disappearance. Chidy Wayne, in contrast, embraces the raw texture of jute, etching gestural forms into its surface, as if wrestling with the material itself.
With her delicate linen weavings, Toufan Hosseiny creates a fragile language where threads intertwine, unravel, and rejoin — a metaphor for human stories that fray and are pieced back together. Silvia de Marchi, meanwhile, distresses paper — tearing, hollowing, and reworking it into a new surface, a reconstructed skin where destruction and creation coexist.
Jamie Mills investigates the interaction between material and environment by collecting natural and synthetic elements, fragmenting and reassembling them. His compositions evoke landscapes on the edge of the tangible and the imagined, where decay becomes a metamorphic process.
Moritz Berg captures the poetry of everyday life through minimalist works that reflect the connection between humans and nature. His pieces play with light, textures, and imperfections, revealing the transience of fleeting moments.
Giorgio Petracci draws from the memory of his homeland — the Adriatic coast — and the materials that shape it. Working with wood, photography, and painting, he explores the passage of time, between disappearance and endurance, absence and presence.
Armando Mesías lingers on erasure, time passing, and the ambiguity of memory. His work blends figuration and abstraction, conjuring ghostly traces and images that question what escapes us — and what remains.
Roan van Oort constructs abstract landscapes from raw materials — pigment, sand, lime. His delicate, timeless compositions seem to breathe with light and space, evoking a state of perpetual transformation.
Ce qui s’efface demeure explores the tension between disappearance and endurance, between the tangible and the ephemeral. Like the concrete walls that bear the memory of a radical architectural gesture, the works in this exhibition remind us that matter, even altered, holds a trace. What fades does not vanish — it is inscribed differently: in the fibre, in the fold, in the memory of those who see.
