Louise Hervé & Chloé Maillet present a first version of the film Spectacles sans objet in the exhibition Good luck with your natural, combined, attractive and truthful attempts in two exhibitions. It will be expanded with the addition of a new chapter shot, entitled The Saint-Simonians' Performance, in collaboration with artist Matteo Rubbi, who has been invited to recreate his performance Sistema Solare in Aspach. In this work he asks groups of volunteers to take the place of the planets and match their movements to those of the earth and the celestial bodies.

For this particular recreation, Louise Hervé, Chloé Maillet and Matteo Rubbi work with students and young artists-graduates from HEAR (Haute Ecole des Arts du Rhin). The specific historical context will be that of the Saint-Simonians, who in the 1830s came up with a similar strategy for putting people in touch with the stars. Together the participants create an alternative, utopian solar system, far away in time and space, in which the movements of the planets—like the relationships between people—will be different. This project give place to a collective performance which will be documented and incorporated into the new version of Spectacles sans objet.

As Louise Hervé and Chloé Maillet put it, "If Jean-Jacques Rousseau was hostile to the theatre, as he makes clear in his Letter to d'Alembert, he nonetheless does not reject all forms of spectacle in a democracy. But any such spectacle should make no object and have no audience—or rather, the spectators should be actors themselves. In brief, it should be a form of participatory performance."

The concept of public participation is also one of the key questions in their film Spectacles sans objet which revolves around a series of performances urging the theory of a revolutionary origin of participatory performance. The film is based on research into a number of places associated with the history of utopian communities, industrial estates, the history of bans on the theatre in the United Kingdom, and revolutionary celebrations. Hervé and Maillet focus in particular on the "industrialist performances" organised by the Saint-Simonians: "One Sunday in 1930, in Ménilmontant, near Paris, some thirty men in tricolour costume—trousers, white vest buttoned down the back, and blue coat – set about washing dishes, mending buttons and polishing shoes. They were outdoors, on a platform in the middle of a large garden. A big crowd gathered to watch them. From time to time the men in costume intoned a refrain, with their audience singing along in chorus. They were almost all engineers, and the future they looked forward to was an industrial society founded on progress and equality. This was a performance open to all, and it had a political purpose: the Saint-Simonians wanted to show everyone the society of tomorrow. They presented a world which reshaped the notions of masculine and feminine, social hierarchies and the concept of art. They were proposing the basic premises of the definition of art, an art that was to be a sung, acted, spoken performance."