This installation is composed of two parts, as shown in the image below. Through drawn forms, Dans quel sens traverser les antipodes, attempts to tell the story of the deportation of Algerians and communards at the end of the 19th century in New Caledonia by the French colonial government.

There are few indices and recourse to archives. It is conceived as an investigation in which the viewer can lose oneself or engage in connecting the elements in a space that encourages multiple narratives to be constructed. Beyond the starting point of the project, which is Louise Michel's travels to Algeria and the deportations, it is above all a question of staging a sort of fictional conflict territory crossed by struggles linked to questions of occupation of land or territories by force and forms of resistance to re-conquer them.

This installation acts as a formal choice in the field of drawing: that of drawing as a documentary form; a question constantly at the centre of Massinissa Selmani's research. One of the formal threads of the installation is that of the format of the postcard, the starting point of which was the discovery of a postcard representing a street in Algiers in 1904 where a poster announcing Louise Michel's conferences can be seen. There is a continuation which connects the artworks of Selmani’s practice demonstrated by drawn forms that preserve yet juxtapose histories.