These imaginary narratives find their inspiration in the memories of families and communities united by adversity: on the verge of a departure, for example, or condemned to exile or

migration. Bak's work, however, is not limited to observation and narration: she also sets out to reestablish bonds and to record the traditions, histories and identities of groups

before their dispersion or their disappearance. In earlier projects the artist looked at popular uprisings in a mining district in France's Pas de Calais region and in a Bangkok

neighbourhood whose residents were under threat of expulsion; and the survival of Polish culture in New York, ensured by its emigrant representatives. Bak's narrative digressions, which

sculptures, this project looks at the order of the Sisters of Charity, alternating a portrait of one of the nuns with fictional filmed inserts.  The video details the artist's

interviews with Sister Marie-Agnès, living in the convent of the Chapel of the Miraculous Medal, whose thoughts and memories are accompanied by anecdotes from her daily life. Bertille Bak is

especially interested in how the nuns spend their free time, and her picture of convent life interpolates the interviews – including her subject's existential questionings and

anxieties about death – with fictional material. In an example of reality outstripping imagination, we learn that the rule of the community requires members to live one floor higher in the

building as their health deteriorates. The oldest and most fragile of them thus find themselves on the fourth and last floor.  The soundtrack is made up of the sounds produced by the

nuns' personal possessions, among them a glass, a tin of polish, a pair of scissors, a flashlight and an alarm clock. These items are on show in the exhibition, together with

documentation of their places in the nuns' rooms and on the soundtrack TRANSPORTS À DOS D’HOMMES (BORNE ON MEN'S BACKS) The overall project brings together a film, artefacts and

archival material including luminous stop-by-stop trip indicators transformed to include sound and a painting showing all the landscapes traversed by the Roma on their voyage from Dororhoi

in Romania to Paris. The film was shot in a Roma camp in the Paris region. As she always does for projects of this type, the artist began by sharing the community's life for several

months. Her project focuses on movements, territories and types of music; it does not directly confront the political and social issues involved, although these are implicit throughout the

narrative. The real issue here is finding ways of overcoming the constant hostility the community has to cope with.