Inhabited by the forms and occurrences of narrative in literary and cinematographic spheres, Laetitia Badaut Haussmann’s approach involves the concepts of appearance and reminiscence, amnesia, narrative knot, drift, appropriation, deletion and recovery. The exhibition L’Influence de Neptune is composed as the rest of her work. It is as much an exploration, initiation and continuation of a situated narration.

At start, Laetitia Badaut Haussmann stays at the Hôtel Vauban during a stay in Brest. The decoration of the reconstructed city’s mythical institution compiles the scars of past decades. To the artist, the hotel becomes a mental projection space as well as a sphere of night wandering for a fictional character. She stages, in closed session, a man literally obsessed with two major works of the twentieth century – Jean Genet's Querelle de Brest and Rainer W. Fassbinder’s Querelle – who uses his heroes as a visual potential materials to overcome his insomnia.

The exhibition L’Influence de Neptune revolves around the eponymous film. The space of the art center is arranged with the attributes of a modernist interior that confront its industrial architecture in a semi darkness where night, dreams and desire are omnipresent. Thus, the exhibition is introduced by a Chose annexe (appendix thing). This is the title of this strange plant that looks like a root, a rock, a mushroom or an elephant foot. Vegetal echo to Genet’s organic literature, this Chose annexe becomes the essential preamble of a journey in which intertwine produced and borrowed forms. It combines film, storytelling, design and literature to build an atmosphere certainly referenced but never actually given or determined. The reference, in fact, is not hidden or named. It is a reading tool of the space and narration but not a key.

In the display of forms thought by the artist, the boundaries are blurred between work, direct quotes and scenic elements. World apart, resolutely quotationist, the exhibition is both a compilation, digestion and overlay of references within a permanent intellectual ambivalence between celebration and interpretation. Thus, glass screens, untitled Les Ecrans tinged with color gradients both divide the space and act as prism through which to discover a bunch of lamps by Joe Colombo, Hans Hollein, Ettore Sottsass or Franz West. symptomatic functionalist monuments of the second half of the twentieth century. This collection of symptomatic functionalist monuments of the second half of the twentieth century lives with three daybeds loosely inspired by Charlotte Perriand or Eileen Grey. They also act as sculptural and structural parts as much as in furniture exhibition from which to observe what appears. We sit there to watch the movie, of course, but also to look at a surprising twist fabric sculpture resting on trestles under the side canopy space. Like the Chose annexe that d / D highlights narrative tension that builds the exhibition. Under the auspices (and influence) of the outermost planet of the star of the day, the shape of the architected tress as its precarious held revendicate the open complexity of Laetitia Badaut Haussmann’s statement.