With an exhibition title, “Si je t’oublie Paris” (If I Forget Thee, Paris), that evokes the Old Testament, and Faulkner as well, through a simple change of scene—Paris replacing Jerusalem—Bruno Perramant brings to the fore something salient to his work: a system of elliptical references that shuttles between history (artistic, intellectual, religious) and contemporary reality, between memory and the present—a constant circulation, real and metaphorical. Painting is interrogated both in its constant features and in its increasingly complex relationships with the image, particularly the moving