The vision opposes nature and culture, a material world and the human spirit, is foundational to Western modern thought and forms the basis of industrial society’s development. This ontological separation has led to a spectacle of nature that sometimes borders on fiction, even fabrication. At the same time, the window is considered the formal origin of the invention of landscape. Letizia Le Fur replays this genesis photographically, in scenes that are sometimes real, sometimes subtly altered, or even entirely fabricated. By questioning the way we look at the world, the artist also probes how we inhabit it. This same questioning runs through the images of Peng Yi-Hang. The artist captures the contemporary paradox of a world projecting itself elsewhere, turning away from its reality in favor of a spectacle: seashores, waterfalls, and forest undergrowth are no longer places to be experienced but are trompe-l’oeil that decorate walls. From artificial horizons to a standardized, unchanging, interchangeable, and domesticated nature. Céline Clanet brings us back to the origins of this representation of the world while plunging us into the depths of a forest. Through her microphotographs, the photographer reawakens the fascination that accompanied the earliest scientific uses of photography. She also reminds us how this gaze isolates, sections, and classifies a teeming world. In doing so, the artist evokes both the deadly power of modern science, which observes, classifies, and ultimately instrumentalizes in the name of progress, and the captivating beauty of life itself.