Malik Nejmi’s ambitious retrospective, co-curated with Louise Bras and presented in a deconsecrated twelfth-century church, poses a fundamental question: can architecture be a tool for collective and individual care? At the heart of this exhibition of photographs, videos, sculptures, installations, archival documents, and architectural ephemera is the neighborhood of La Source, on the outskirts of Orléans, where the Franco-Moroccan artist grew up. For more than three years, he carried out meticulous fieldwork in the area. In doing so, he combined autobiography with socio-historical research, the small story with the big picture. The planned demolition of Tower 17, an emblematic building in the area, was the catalyst for the project. Under the artist’s gaze, this disappearance becomes a symbol of a collective memory threatened with erasure. The strength of the exhibition lies in its ability to deploy different temporalities around a single site. Before the demolition, Nejmi methodically documented the empty building through his series of large-format photographs (“Super-fenêtres,” 2024), in which the empty apartments still carry traces of past lives. A vertical orthophotograph of the façade (Orthophotographie, 2023), produced with the aid of large scanning devices, offers an overall view of the building, transforming architecture into an aesthetic subject in …