The installation, Grounded, 2005, conceived by Vincent Lamouroux for the lower level of Crédac, is situated in a very long room with a partly tilted floor that was originally intended to serve as a movie theater. In this windowless space, a wood-and-metal grid was suspended halfway down from the ceiling; it had a largely even, openwork design, except for a circle cut out of it toward the back of the room. A wide black band was painted around the walls, starting two feet above the floor and reaching a foot and a half below the height of the grid. With this intervention, Lamouroux continued his

A little “new French theory” first of all: “Plasticity today demands access to the concept.” In several works, including La Plasticité au soir de l’écriture: Dialectique, destruction, déconstruction (Éditions Léo Scheer, 2005), the philosopher Catherine Malabou attempts to elucidate an increasingly pregnant “motor scheme” in philosophy, art, neurobiology, and psychoanalysis: plasticity. While the neurobiologist Jean-Pierre Changeux uses the term “plasticity of the brain” to refer to the capacity of synapses to form or reform a bit of information, Malabou’s concept of plasticity refers to