Dénonce-moi brings together a series of portraits by artists from different generations, each probing the ways identity can be represented, interpreted, and inevitably fractured. The title, taken from a work by Pierre Klossowski, does not speak of accusation but of witness and connection.

What stands out immediately is the absence of a returned gaze. None of the sitters look directly back at us. Their eyes drift inward or away, turning aside from contact. This evasion unsettles the expectation that a portrait should confront the viewer with presence. Instead, the figures appear absorbed in their own reflections, poised between exposure and withdrawal, as if they were guarding something that the artist allows us to decipher.

A portrait is always a conversation between outward appearance and inner life, between the subject’s own sense of self and the artist’s interpretation. What we are given is partial and fragmentary, reminding us that identity is never fixed but always shifting. The diverted gaze becomes less a barrier than an opening, an invitation to imagine what is withheld, to approach indirectly, and to recognize that every act of looking carries with it an element of not knowing.