卡萝琳 • 塔培奴利用透明度来唤醒观众的眼睛，从雕塑上的“薄纱”开始，观众成为展区的一部分，重构了展览。展览的表面积获得了深度，物体摆动着甚至相互抵消，雕塑的概念消失了。这一消失是为了能在有光线的地方生成形状，重现出现，或者在我们未曾预料到的地方重现：墙上的影子、镂空的空间、精细的线条，更没想到的是和杜尚(Duchamp)珍贵的薄层之下相关。最后，所有的幻象都是为了让我们沉浸在冥想之中，唤起我们对现世的记忆。

　　Marie-Pierre Donadio, TRAC, Frac 朗格多克鲁西永，蒙彼利埃，法国

　　翻译：Fan XU

　　L’INFRAMINCE (extract)

　　Caroline Tapernouxplayswiththistransparencyso as to stimulate the spectator’s vision and makeitreconstruct the exhibition space, using the sculpture’ssuperimposed “veils”. The surface thencomes to life in itsdepth, the volume oscillates or even cancels itself out, the veryidea of a sculpture is put aside, only to reappearwhere light gives body to form, or whereitis not expected: a shadowcast on a wall, hollowed out spaces, faint or evenunexpectedlines, bordering on the infra-thinfavoured by Duchamp.

　　After all, the illusion isonlythere to throw us into contemplation, to awaken in us a memory of reality.

　　Marie-Pierre Donadio, TRAC, Frac Languedoc-Roussillon, Montpellier, France

　　Translation : Angela De Plano

来源：雅昌艺术网