The story ends where the collection begins. In her book Chien blanc du nord, serpent noir du midi, Diane Malatesta’s drawings exist from a set of archives that all have a special space and time in common: the 1922 colonial exhibition of Marseille. The architectural space of the park become unfamiliar, sometimes dysfunctional, it only preserves its ornaments. Actors and visitors no longer appear. The daydream of overseas confuses itself with the myth. By covering itself with artifices, the image remembers itself, it testifies and diffuses the lie.