For her exhibition at Palais de Tokyo, Marianne Mispelaëre considers ghostly monuments, which, through their very absence, continue to inhabit the landscape. Destroyed for ideological reasons, these architectural and sculptural works leave behind a negative silhouette in the urban fabric, a void that attests to their amputation: “we saw that there was nothing left to see”, in the words of a journalist invited by the Taliban to bear witness to the destruction of the monumental Bamiyan sculptures in Afghanistan. Drawing on contemporary history, Marianne Mispelaëre explores the notion of absence as an intensi cation of disappearance and the relationship between global and local perspectives.