What might be the common denominator between the practices of Farah Atassi and Ulla von Brandenburg, two artists who at first glance have nothing in common? Perhaps an exaltation, a celebration of the spectacle of forms that a half-drawn curtain presents to us. In Atassi’s paintings, the curtain is open, and yet the dancers are motionless. (...) “La société des spectacles” explores the ways in which the stage is used, as well as a reflection on performance and artifice, with all the ambiguities raised in two artistic practices which seems very different, but which both rooted in a modernist heritage.