Two major exhibitions took place in 2012, in Beijing and then in Guangzhou.

Both exhibitions included around thirty paintings from the Schmates series and a monumental 25m installation, specially created for the Croisements Festival,

Punctuation marks, and more specifically the question mark and the parenthesis, were the guiding motifs.

These signs common to both languages and the sound Ma, which indicates the interrogative form in Chinese, are the starting point for a reflection on our questions.

A comparison of the works of Nadine Kohn-Fiszel and Alain Delpech.

“The adornment and the imprint”, because the exhibition aims to illuminate the point of convergence between what each has been led to develop, each in their own quest.

An essential strategy made possible by the artist's symbolic gesture: to observe, confront, and transcend physical disappearance. From the carcasses of turtles washed up on a Gambian beach, which Delpech adorns, by engraving them, with all the power of his imagination, to the "lost bodies" whose imprint Nadine Kohn-Fiszel recreates, everything takes its place in our world, to challenge us; everything in this rediscovered intimacy is destined for rebirth.

The pieces of zinc that make up the barricades all come from my roof.

When I set up my workshop more than twenty years ago, they were dismantled and stored in the storeroom.

For the Croisement exhibition in China, I chose them for an installation on punctuation marks.

During COVID, I had no equipment available at home to work with.

I then used my own X-rays, household products, and everyday instruments.

I knew that the original material, the X-rays, would disappear, replaced by CDs.

Then I managed to obtain more X-rays and my dialogue with the trace and disappearance of the bodies was able to resume.