Wim Wenders - Setton Smith - Milomir Kovcacevic-Strasni - Jochen Gerz - Koo Jeong-A - Rémi Nicolas - Compagnie Babylone - Compagnie Just Smile

Along the streets that lead from one exhibition to another, Cahors is transformed at nightfall.

Above the Espace Clément-Marot, a signal in the sky marks the beginning of a journey through the city, in the subdued colours of intimacy. A path of light leads to this exhibition space, whose façade, animated by a pulsating light, seems to breathe gently in the night.

On the boulebard Gambetta, the glow of candles illuminates the terraces, under a luminous ceiling. At the top of the boulevard, under a stretched veil whose light varies continuously, images seem to float on a water screen. 

Images by Wim Wenders are projected onto the façade of the Musée Henri-Martin. 

On Place Champollion, the CCF Foundation for Photography is showing the work of its 1998 winners Seton Smith and Milomir Kovcacevic-Strasni on monumental screens.

Jochen Gerz has carried out a commissioned work in Cahors, presented during the Printemps de Cahors on different media: in the form of projections in the city, between the Place Champollion and the Saint James mill, in the form of posters on Decaux billboards, in a separate issue of La Dépêche du Midi and in a book published by Actes Sud. This work, entitled Les Témoins (Witnesses), gives the floor to elderly people, women who express themselves on the question of veracity. 

During the week of the Papon trial, Jochen Gerz spoke with these women from Cahors about the link that exists or does not exist between their personal, intimate truth and a social and public truth. This link, the actuality of the trial, is an attempt to give a direct image, without hindsight, of these experiences that do not usually appear in the news, of these "elders" who often think themselves that they have nothing more to say.

The Korean artist Koo Jeong-A creates an intimate atmosphere in the old town by covering the lampposts with a coloured gelatine that changes the lighting and bathes the street in a pink light. This proposal is an extension of his work, which is always ephemeral and fragile, and slightly disrupts the spectator's perception of space.

In the courtyard of the Archdeaconry and the Cloister, between the choreographies and the concerts, a light creation by Rémi Nicolas takes over the space. 

The winners of DEFI-jeunes, an operation which promotes young street theatre artists, occupy different points along the route: the trailer of the Babylone company sets up in Place Charles de Gaulle to present its Cinéma de Quartier, while the comedians of the Just Smile company, who propose an adaptation of a text by Henri Michaux, perform in Place Barreau on 29, 30 and 31 May and in Place Champollioon on 5 and 6 June. 

On the square in front of the Hôtel de Ville, ten dancers from the Starting Block troupe will take the spectators into the world of hip-hop.

All along the route, abandoned buildings, such as the Hôtel Wilson or the barracks of the Espace Clément Marlot, are inhabited by sound and visual devices: silhouettes, lights, snatches of conversations bring these places to life.

A "little train" provides a link between the different events during the Nuits Blanches.