An unusual publication accompanies the Carte grise à Evergon: a long accordion, spreading out over twenty panels and stored in a case. This original object, which is simultaneously a book, a catalogue, and a work of art, contains reproductions of the works presented in the gallery, on one side, and a written and visual work by Eduardo Ralickas on the other. Breaking down in backwards motion, frame-by-frame, a short film sequence showing a heavy porcelain object shattering on the ground, Ralickas’ work proposes, in its textual component, a collage of theoretical reflections on art and more poetic reflections on gravity, time, etc.