The exhibition layout offers a gradual transformation of the three-way relations between the visitor, the content and the form, through the three successive stages of the exhibition. The content is mainly sculptural, and the space brings together the relations to the body. In the first sequence, objects are displayed on large luminous slabs that are raised off the ground. The visitors, surrounded by these slabs, criss-cross the space and discover a unique treasure exhibited chronologically: they set out on “the march of time”. The body, the sculptures, the ground… the desert…the horizon.
In the second sequence, a dance of masks is frozen in time and distributed through the space. Once again, the idea is to play with the body and to display objects inside the space and not around the edges. The final sequence is an area alluding to a collector’s home, with extruded baroque shapes, deformed proportions of the decorative bourgeois spatial elements, a harpsichord (finally not included), velvet and carpets, together forming the background against which the Dogon objects are displayed.
The entire exhibition space is limited by a full height luminous cycle, alluding to the cosmogonic frontiers of the Dogon universe.
