From 2012 and throughout the second part of my Orly (Sud) series’ development, I kept in touch with Stefania Bator who occasionally gave me access to yet unexplored locations in Orly’s South Wing building, some parts for which documentation was necessary. At the same time, Stefania  encouraged contacts with certain figures of ADP's senior staff of Orly Airport.

These contacts remained stillborn insofar, as each and every ADP Communication Managers that were consulted between 2011 and 2018 would steadily refuse any corporate institutional support for my work inspired by Orly South, despite the interest shown in my exbition project by certain Orly Airport's executives formerly approached. The official pretext being that this work’s underlying theme (eg a vision of the airport in the Sixties, with its heydays and its role in French Architectural Heritage’s saga) celebrated the "Past", and therefore did not correspond to the “Editorial Policy” that had been defined for Orly, which ought to be henceforth “a modern airport, focused on the future”.

Orly and its "past" ... and what a past ! Just that of the most visited place in France in the 1960s –more than the Eiffel Tower by then. A must-see filming set for so many prestigious French and international movies, and a prerequisite place for all the stars of the Big Screen or the Theater longing to be photographed and seen, during the Glorious Thirty... Therefore, did Orly's South Wing deserve such a corporate positioning locked on modernity and the future only, for the exclusive benefit of marketing and development and to the detriment of its "past" -no matter how unique and glorious the latter was ? Indeed, the most basic common sense suggests that one does not exclude necessarily the other : the past feeds the present, which in turn gives birth to its successor the future -a key filiation link for measuring the cycles of time and life, and their meaning. But ADP's decision remained permanent. It only confirmed me that no one is a prophet in one’s own land.