Ambigu Comique II derives its name from a small 18th century Parisian theatre designed for entertaining plays. The theatrical reference and the semi-circular structure immediately put the spectator within a fictitious scene, made up of a translucent panoramic view taken in aluminium structures, nine mirrors (anamorphoses of the circle) and nine colour-copied fragments taken from the panoramic photograph. This work responds to a constant desire in Kasimir’s work to broaden the viewpoint on reality, and invent a scenographic spatial distribution. Doing away with perspectives and developing another system of measuring space have the effect of shifting the ratios of scale of the city and its evaluation. The world thus traced out, in this distended urbanistic vision, where several paths of access are offered and at the same time looped upon themselves, endlessly sheds light on the notion of ambivalence—the notion of indecisiveness in taking up a position. This aim to encompass space and the incapacity to give a unique image of the environment other than by developing it over a period of time, in the end demonstrate, somewhere between utopia and consciousness, the real way in which we experience time. The present, cultural states, readings of artworks, and human relations all approach one another through breaks, in the desire we invariably have to attempt a synthesis without having received the gift of ubiquity. Through the mirror interplays of this small theatre of the world, somewhere between public domain and private place, reality seems to steal away, and refers us to a vision other than the one that our gaze and our memory give us hope for.