He is there, so there, so present, so visible that you can’t see him…” This is the emblematic polar bear of the Museum of Hunting and Nature. So visible but not looked at enough? Perhaps that is why Sophie Calle decided to cover it with a sheet before collecting the impressions of the museum staff from whom this quote is taken. Le regard, one of the themes addressed by the French artist who invites for this exhibition her friend Serena Carone to create dialogue with her own works, some specially designed for “Beau doublé, monsieur le marquis !”presented in the framework of the FIAC. Why this title, you’ll wonder? Perhaps because this double is precisely what Sophie Calle and Serena Carone have to say when they meet, measure and appreciate each other. Carone also has her bear, it is ceramic, spread out on the ground. When Sophie Calle evokes the loss of inspiration following the disappearance of her father in her film “Pêchez des idées chez votre poissonnier”, Serena Carone responds with an impressive wall of wax salmon. The bestiaries of the two artists mate in triumphant harmony under the direction of Sonia Voss, and reflect the intimately personal autobiographical value of Sophie Calle’s work. Represented by Emmanuel Perrotin, who had invited all her artists and friends (Xavier Veilhan) for the occasion, Sophie Calle arrived at the after party in the museum’s garage behind the wheel of a Bianchina Autobianchi, all to the sound of trumpets and in front of a compact crowd. The kick-off of a second part of the evening literally “underground” hosted by a DJ set of Pedro Winter and Philippe Zdar. Then it was the concert of Lawrence Rothman, an artist with nine alter egos whom Emmanuel Perrotin described on Instagram as “Cindy Sherman of music”, which took the evening until the early morning. His hit song? “Wolves still cry.” It’s a great program.

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