The installation presented by Chilean artist Emma Malig at the Maison de l'Amerique latine was specifically designed for the site, as was the accompanying music, also composed by the artist and produced by the rubbing of piano strings (the same strings she used to manufacture the spheres). This work is part of Malig's long exploration of wandering, exile, and displacement, which she associates with infinite motion. Selected for the 2013 Nuit Blanche and the winner of the Cachan Biennial in 2014 (a solo exhibition is slated for 2015 in this city), this quiet artist, poet, and traveler (she studied for four years in Japan) imagined an object in motion comprised of three connected spheres, one inside the other and the third one in a fixed external position. The spheres are made using gauze fragments, painted blue and embroidered, and paper strips, some with discreet but very present lithographic impressions of words like migrare (to migrate), Lamenti (laments), In fine (finally), Alas (wings), or Océanas (oceans), which scan the chosen metaphor. One of the spheres "represents" the navigation routes of migrating birds; another, the sea and shipwrecks in the Strait of Gibraltar; the third one, the constellations that, since Antiquity, have guided travelers and birds. This is a two-level world, dominated by the color blue: the sky with the journey of the birds, the sea where shipwrecked mariners disappear. Although this infinite rotation, barely illuminated by a lamp at the center, its rhythm provided by the sound of the metallic rarity that accompanies it, is magical, refined, and poetic. It does not force us to forget the drama of immigrants, their non-return, the fragility of their dream, the ineluctable nature of the unknown. This permanent circularity is enhanced by a dense work of shadows projected on the floor, the walls, or the ceiling. What we are experiencing is a total work of art, where sound, light, motion, and images awaken our memories and our imagination.