During the fall of 2010, Raphaël Dallaporta took part in an archaeological mission in the Bactria region of Afghanistan, the mythical conquest of Alexander the Great. Using a drone he designed, he took aerial photographs of archaeological sites in great danger or previously unknown in this war-torn country. The remote-controlled device is set to take a photo every five seconds, a photo with unparalleled precision. The modeling of the assembled images, their deliberately asymmetrical contours, highlight monuments and inaccessible places. The most cutting-edge technology is put at the service of themes dear to the artist — destruction, the precariousness of things. It makes visible what has been and is no longer. And isn’t that the very definition of all photography? All of Raphaël Dallaporta's work thus leads to one observation: photography says nothing, it records a form and documents the invisible. A modern medium for traditional vanities, it subtly evokes the fragility of all things, the violence and vices of contemporary society.