Titled M´as tu vue (You have seen me), this retrospective exhibit by Sophie Calle included her most important works from 1979, some of which were not so well known even in France. Also on display was a group of new and never-before-seen pieces such as Douleur Exquise (Exquisite Pain) from 1984-2003 and Unfinished from 1988-2003. Born in 1953 in Paris, Sophie Calle embarked on a long journey around the world in the early ·70s. During her stay in California she began to take photographs. For over 20 years, her works have taken the form of photograph installations accompanied by a narration she captures from people on the street in the form of an interview. The exhibit at the Pompidou Center opened with Douleur Exquise, a piece divided into three parts and based on a love affair from the past that reemerges in the form of painful memories. With Collage en California (Trip around California, 2003), Chambre ŕ coucher (Room to Lie In, 2003) and Les Dormeurs (The Sleepers, 1979), Calle deals with the subject of the bed and the room as a private place that has a cathartic function to heal the wounds of heartbreak, a place to mourn over broken relationships. These are installations that include real objects, photographs and documents. In Les Dormeurs, the artist invited 20 people, including friends and strangers, to sleep in her bed for 8 hours for a week. On her own, Sophie Calle researched the idea of looking beyond what is visible. This is clear in Les Aveugles (The Blind, 1986), a piece that deals with the notion of beauty as a mental representation. For this piece, she asked a group of blind people what beauty meant to them and their answers inspired this photo-installation. Issues such as absence, disappearances and loss were the centerpiece of the exhibit and of Sophie Calle·s work in general, thus lending sense to the title of the retrospective: M´as tu vue? (Have you seen me?), a question that suddenly addresses each of us as observers.

The “Non-standard Architectures” exhibit showed a large audience the fundamental mutations of current architecture. Projects, made or experimental, and prototypes by 12 international teams of architects, who use the latest numerical and virtual technologies and are concerned with issues of representation, such as virtuality, hyperspace, etc., were presented at the Georges Pompidou Center.The notion of “non-standard” evokes the universe of Mathematics with works by Abraham Robinson (1961), then came the decisive theoretical steps that paved the way for artificial intelligence, fractual theories or catastrophes, such as morpho-genetics. The notion of “non- standardness” is founded on the basis of Mathematics for spatial, technical and conceptual coordination in the different phases, from the project to the construction thereof. These new architectural methods and practices go against standards associated with modern architecture, where standards and models govern. The exhibit intended to look like a production workshop, underlining the continuity of prototype and industrialization techniques. The exhibit·s scenography evoked in itself an algorithmic focus on the specialty, a space precisely not standardized, where visitors had the opportunity to experiment with the latest tools and means of production.