The ballet Parade premiered on May 18, 1917, at the Théâtre du Châtelet in Paris. Was performed by the ballets russes, directed by Serge de Diaghilev. Written by Jean Cocteau with music by Erik Satie, the choreography was by Léonide Massine, and the sets, costumes, and curtains were designed by Pablo Picasso. A Parade´s character was dressed as a horse. After Mike Kelley, who activated this costume in 2005 in Horse Busts, Horse Bodies, this same one serves as a starting point in several compositions by Sébastien Dosantos Capouet. Cocteau stated that the presence of the horse did not turn Parade into a Dadaist work, since it had initiated the project long before the emergence of Dadaism at the Cabaret Voltaire in Zurich in 1916. Dadaist is, without a doubt, the scene illuminated by a bonfire somewhere in the bush Corsican.

The two image-makers gathered here to share an interest in the fantastic, the dreamlike, and the ritual. While one approaches these issues with erudition by adopting the methodology of an ethnologist, the other does it instinctively in the manner of a clairvoyant. Several of the exposed images reflect another shared interest in surprising explorations of hallucination.

Time is one of the essential components of the graphic work of Dosantos Capouet, not so much the time itself as its organization. First of all, there is the time of file collection and selection. Then comes the planning of the different operations and what needs to be done. Dosantos Capouet's iconographic montages require the prior preparation of a kind of script or storyboard. His images work for successive strata, layers, and passages of printing and painting that can only be executed according to a precise chronology. A given operation must take place between this and the next, otherwise the desired image will be lost. Deciphering one of these compositions requires time and attention.

No less enigmatic and complex are the drawings of Yanieb Fabre, some of which they bring together humans and animals in a kind of pagan round dedicated to the celebration of spirits and fertility. If Fabre's images must be classified in a regime particular ontological, we will inevitably relate them to the animistic universe that celebrates the shared spirit between disparate entities despite their formal differences. We can summarize the invitation of Fabre and Dosantos Capouet to let your gaze roam the structure of the images of one and the figures of the other.

Michel Blancsubé