15 02 ‘ 2021   museomag 
© 
éric 
chenal 
SCENOGRAPHY 
have the same root, and it is fairly easy to understand 
why: in the same act, its purpose and failure are 
confused. It is a complicated game that I enjoy a lot. 
From the day I first learnt about the legionnaires, I was 
fascinated and struck by the complexity, the contradic- 
tions and the inconsistency, not so much of the events 
themselves, but of the points of view from which their 
stories were framed, told, and reduced. Points of view 
capable of translating and betraying the facts at the 
same time. 
WHAT IS HISTORY? 
What reasons – and how many – could have animated 
each single legionnaire? Which – and how many – 
misunderstandings or intentions make us read the 
deeds as a story. What is history? 
Among the beautiful photos taken by Éric Chenal, 
there is an image in which the installation, still packed 
up, appears as an expanse of reciprocally moving ice- 
bergs (cf. our «Appel du regard» on pp. 16-17), each 
on its own and yet in a common spectacle, in a form 
complicated to relate. 
Our project was born from the desire to embrace this 
complexity, and to represent without fear, accepting 
the difficult rules it dictated to us, simple architects, 
accepting the idea to use an articulated geometry, 
based on the composition of an indefinite number of 
islands, on an acute angle, on the intersection of points 
of view. 
A beautiful Italian song goes „la storia siamo noi“: we 
are history in spite of ourselves and, in this exhibition, 
also intentionally. I decided to take different points of 
view and contemplate the reasons of those who lived 
and those who told stories, and inevitably to make our 
own: no matter if new or original, but certainly lived. 
Alessandro Floris 
«Légionnaires. Parcours de guerre et de 
migrations entre le Luxembourg et la France» 
from 30 June to 28 November 2021 at the M3E.